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In this post, I'll talk about the Normalities of the whole cinema. Things that are so normalized, you will find in most of the movies throughout the industry. If you go for a single filmmaker or genre, you will find plenty, but when it comes to the whole industry, the number gets very low. I was going to do Tropes and Norms first, but then I could not find enough tropes, other than Dead Father leaving the burden of several siblings on a Young Son. I also knowingly did not add "Barrak" to the list because it is specific to Punjabi Movies. Truth Be Told, I just made this post so I can talk about the music and I won't even shy away from that fact. I managed to pick up 3 Norms, that I'll talk about in this post. 1- The Songs If you see a Pakistani Movie, there is a 99 percent chance that you will hear at least one song playing, unless, of course, it is an "art film". I don't even have a slight doubt when I say Pakistan has the best talent in the entire world when it comes to Music. We have so much talent that we tend to even export some of it around the neighborhood. It all started when talkies came to the subcontinent, with Alam Ara. The songs also came along, mostly because the music is ingrained in our soil, it was part of our culture, so much so that not having songs and music in our movies would have been a disrespect on its own. From Rasheed Attre to Robin Ghosh to Mehdi Hasan to Malika-e-Tarranum Noor Jehan, Pakistan has given so many Legendary Musical Personalities in the past and the land is still Fertile, with Legends like Rahat Fateh Ali Khan, Faisal Kapadia, Sajjad Ali, Hadiqa Kiani and so many more (If I go on writing names of every Musical Maestro, the word limit will exceed and I'll still be left with a lot of names). There was a long time when Films would work just on the fact that Noor Jehan sang in them, or Rashid Attre gave Music to them. So, Yes, the Songs were, and still are a core part of Pakistani Movies. 2- The Comedy Sideplot Usually, in Drama movies, there is always this side plot that goes on alongside the actual plot to relieve the tension of the audience, the portion is solely carried out by comedians. Likes of Munawar Zarif, Lehri, Nirala, Umer Sharif, Nazar and so many more used to lighten the audience up with their comedy. These acts were added mainly because the audience was very familiar with good theater and would cheer on better punches. This trend started with the dawn of Pakistani cinema and goes on til now. It all started with Noor Mohammad Charlie, who was not only the first to do it but also the first to get songs dedicated to his act in movies, he'd go on to influence generations to come. 3- The Hopeful Ending In Pakistani Cinema, most movies have a hopeful or a Positive ending. Villain dies, Lovers meet, Bad gets schooled and then redemption, and the oppressed are provided Justice, even when the opposite ending makes more sense. The pattern is to flip everything towards the end into making a rather positive finale. For Example, take Aaina, the movie sets up a very great separation arc but towards the end, they flip it completely to give a reunion arc. Movies with an ending that would not normally be considered hopeful or positive are mostly considered offbeat movies. (This post is part of 8 parts series, 2/8) . . . Thanks for Reading By @cinemaa.wiz

Reviews by: @averagejoereviews ‘The Town’ is an interesting film in that it excels when it breaks away from the formula which it is so determined to stick to. The times when it strays away from the action and chooses to delve deeper into the characters, their histories and their relationships are the most engaging, and provide the films most tense and emotional moments. That’s not too say that the action sequences aren’t good, indeed, they’re all exceptionally well crafted, however, too much time is spent on them in comparison to the moving parts which allow them to take place in the first place. In that sense, the film is one of those rare action films which feels as though it needs another half an hour to provide real cutting edge. The closest it comes to giving us this tension, this anxiety, is in scenes without the guns or the ramped up music, they’re in the smaller scenes - such as a lunch date. Doug (Ben Affleck) is on what must be his fourth or fifth date with Claire (Rebecca Hall) and they clearly both like each other, a lot. However, there’s something Claire doesn’t know about Doug which we do, so when Doug’s friend Jem (Jeremy Renner) unexpectedly joined the date, we reciprocate Doug’s body language telling Jem to get out of there and we feel genuine tension, nerves which you just don’t get with big shoot-outs or chases. Another example, when Doug and Jem get into a fight outside the graveyard, see Doug’s thinking of moving away with Claire and starting a new life for himself with her. This is something which irks Jem, who feels as though Doug owes him in some way, and needs to stick around to honour the fact that Jem’s family took him in. Doug and Jem are at odds as their ideologies clash, perhaps for the first time in their lives, and, having seen what Jem is capable of we as an audience fear that at any moment he could flip out, and kill the morally superior Doug. These are the moments which the film tackles well. These moments are punctuated by action in the form of heists and they interrupt the deeper, philosophical message which the film is trying to tell us about the culture of crime. The intent is there, and the film goes 75% of the way to executing the message, but then it realises that most audiences haven’t come to see anything special, they just want a fun popcorn film with some exciting action scenes and a tangible plot. The action scenes are certainly exciting, take, for example, the opening, an armed bank robbery by men in masks. There’s fear in the eyes of everyone at the banker, but more so behind the masks of the robbers, who know that they don’t have long before the police are onto them. Hence, they pressure the bank worker Claire to open the safe as quickly as possible, or at least one does, Jem, the other is calming and patient as she opens the safe, that’s Doug. Circumstances become tough and they’re forced to take Claire hostage, albeit briefly, as they take her drivers license and set her free on the beach unharmed. Claire is in pieces about the robbery, she’s freaking out and tearing up at laundromats, which is where she first meets the unmasked Doug, who’s carrying out a bit of surveillance to make sure that she doesn’t have any idea who the masked robbers were. Doug comforts her and takes her out for dinner, during which the pair really hit off, and more and more dates follow. Claire did know something about the robbers, but she didn’t tell the FBI, led by Jon Hamm, that she’d seen Jem’s tattoo on the back of the neck. This is why Doug is in such a hurry for Jem to get the hell out of there, during his and Claire’s date - one look at the back of his neck and she can put together the pieces and hand them over to the FBI all wrapped up. Not that the FBI are too far behind mind, they’ve got a good idea who the robbers are, they just lack any firm evidence to back it up. Affleck, who doubles up as director as well, does very well to keep this narrative flowing and to create an engaging and broadly creative story which will keep you going. In fact, this film suggests that Affleck may be a better director than he is actor. He rarely misses a beat in the directing department here, or in ‘Gone Baby Gone’, however, whilst his acting is by no means bad, it doesn’t quite reach the levels of those around him, in particular the caring Hall and hotheaded Renner. Hall is consistently good in everything she does without every really garnering the attention or respect she deserves, and that is no different here as she delivers another solid performance as Claire in a range of emotions, from isolated to infatuated to despairing and ultimately angry, she controls the character and commands attention with every frame. Renner, who is often rather dull, gives one of his strongest performances as Jem, embedding himself in the Charlestown crime scene in such a manner that he wouldn’t be out of place there in real life. He is wild in his behaviour and most certainly a prick, but a prick with core values of loyalty and family which often give way to his impulsive streak. The same could be said of his sister Krista (Blake Lively), a sometime lover of Doug, and a mother to a young girl, who’s father is never mentioned. Krista is similarly involved in the criminal world, though on a lower scale, dealing and consuming copious amounts of oxytocin and alcohol. Lively is surprisingly engaging in the role and has clearly put a lot of research and effort into helping to create the character, you just wish she had more screen time than she’s given. A pity then that the film was originally 4 hours, which Affleck cut down to 2 hours and 50 minutes, before cutting it down again to the 2 hours and 8 minutes it runs for. Those 42, or even 112 minutes, could have given not only Krista, but every other character, a lot more depth than the mere mention that they a troubled upbringing and have bene involved with crime since early on. In Doug’s case this is given a little more emphasis, as we meet his incarcerated father (Chris Cooper) in a brief jail visit, however, one just wishes something similar could have been done for Jem, or any other character. A moment on the action sequences because they are largely what everyone will want to want to watch for. They are all very good, if not inventive, and at no stage did they become tedious or boring. Whether it was a large shootout or robbery, or a couple of chases, they were all thoroughly engaging and well shot. In particular, there’s one car chase around the middle of the film following a robbery, in which the gang are all in nun masks, they’re terrifyingly comedic and fit the slightly offbeat mood of the film perfectly. The issue I have with these action sequences is that although they’re exciting, they aren’t tense, they’re too fluid and feel far too unrealistic to give the viewer any nerves, even as they see a car careering down a narrow side-street. All that being said, that is really the only flaw with Ben Affleck’s second feature film as director. Even then, the fault lies more with the studio than with Affleck, who has successfully created a smart, inventive popcorn film which will please all sorts of audiences. Ultimately, ‘The Town’ is undoubtedly an effective thriller, which excels in the periods without chases and gun battles but excites even when they occupy the screen. It is a curious case of a film that has no real problems in terms of what is shown, but rather in what isn’t. By @averagejoereviews

Reviews by: @augustkellerwrites Home Alone 2 amplifies its predecessor's flaws with none of its charm. Following Home Alone beat-for-beat, it's a forced, empty, and predictable cash grab. Plus, it completely undoes any growth that happened in the original, returning the protagonists to their starting points so they can repeat the same exact lessons. Consequently, the (over)dramatic beats feel horribly insincere and the action sequences feel like mean-spirited excess. Besides that, all that's left is self-indulgent fan service and tone-deaf themes (humanizing the unhoused directly exposes the hypocrisy of the dehumanizing violence). Overall, Home Alone 2 exemplifies everything that's wrong with commercialized moviegoing. Technically, Home Alone 2 is cheesy and trivializing. Its tone clumsily switches between Hallmark and Looney Tunes, highlighting the counterproductive artificiality of both. The cartoonish effects feel especially off-putting. Similarly, there's often strained overacting because the material is so clunky, manufactured, and trite. Meanwhile, the sound design is silly, the editing is cliche, the production design is drab, and the cinematography is minimal. The soundtrack remains effective, but its manipulation is exposed when carrying such hollow emotions. Ultimately, some might buy into its sanitized drama and cruel comedy, but many will see Home Alone 2's shameless cynicism. Writing: 3/10 Direction: 2/10 Cinematography: 5/10 Acting: 4/10 Editing: 6/10 Sound: 5/10 Score/Soundtrack: 8/10 Production Design: 4/10 Casting: 8/10 Effects: 6/10 Overall Score: 5.1/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Pinocchio unites heart, wisdom, and creativity. Its themes include loss, parenthood, innocence, fear, law, expectations, impermanence, war, unconditional love, fascism, and effort. Though slightly overstuffed, the film remains swift yet respectful. This is achieved through sharp emotions, driven by thorough motivations, complex characters, and delicate relationships. Plus, consistent motifs, meaningful metaphors, dynamic dialogue, and action-based storytelling help conciseness. Furthermore, the voice acting solidifies investment with range, commitment, and vulnerability. Lastly, there's enough playful humor to reign in the headiness. Thus, Pinocchio offers deep thought and deeper drama. Technically, Pinocchio is pure artistry. The tone contrasts innocence with darkness and the style combines quaintness with surrealism. Its imaginative production design feels tangible, unique, vast, and purposeful. The effects provide texture, detail, and vivid energy. Its visuals use lighting, color, movement, composition, and angles for atmospheric meaning. The symbolic sound employs voiceovers, diegetics, echoes, match cuts, and emphasis. Meanwhile, there's whimsical music and a refined cast. Finally, the editing is indulgent but adds passing cuts, irises, flashbacks, match dissolves, rhythm, montages, and tension. Overall, Pinocchio weaves potent skill into a beautiful package. Writing: 9/10 Direction: 10/10 Cinematography: 9/10 Acting: 8/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 9/10 Production Design: 10/10 Casting: 8/10 Effects: 10/10 Overall Score: 9.0/10 By @augustkellerwrites

Reviews by: @the_owlseyes “‘The Axe Forgets, But The Tree Remembers. Now It’s Our Turn To Do The Chopping.” Arvel Skeen PLOT "Prequel series to Star Wars' 'Rogue One'. In an era filled with danger, deception and intrigue, Cassian will embark on the path that is destined to turn him into a Rebel hero" or "The Making of Cassian Andor" SCRIPT The series gives a backstory to one of the most controversial antiheroes of Rogue One by showing his background and rise to the Rebel status. I like the fact that, even though this is a slow burner, it manages to keep you entertained and interested because each character gets an arch, and the morality isn't black and white. This aspect isn't only about Imperial characters but also regarding Rebels. This grants the show a feeling which is different from other Star Wars products, by making the SW universe more realistic. Could be said that every eventy happens due to bad or good choices made by the characters which makes each of them extremely compelling. Script: 8/10 ACTING Diego Luna carries this show on his shoulders but he isn't the only actor who delivers a wonderful performance. Stellan Skarsgard establish himself as a badass rebel who blends with the Empire by switching personality and appearance. I found him the real MVP of this show, even though Luna is pretty good as Andor. Denise Gough and Adria Arjona excells by giving depth to their characters who have a streamlined screentime. I would say the same about Fiona Shaw, who gets a wonderful scene and a great monologue in the last episode, establishing her as the pulsing heart of this series. Kyle Soller, Genevieve 0'Reilly, Varadu Sethu and Faye Marsay do a good job but nothing worth mentioning. Overall I think that in this section the show is pretty good. Acting: 8/10 PHOTOGRAPHY This is gorgeous. Lights and shadows are used masterfully and colours have a meaningful role. There are a lot of wonderful scenes and it peaks in one wepisode where you'll see something which has never been shown in any Star Wars product. I like also how they wanted to differentiate the Empire and the Rebels aesthetics by making the first one smoother, pristine and minimal and the other raw, dirty and detailed. Bravo. Photography: 9/10 EDITING I don't find it particularly interesting or original. It's just there without adding anything new. Editing: 6/10 SPECIAL EFFECTS Those are above average and there's an episode where it reaches an high point, making this show one of the best among the Star Wars universe. I like the fact that those are a blend of CGI and practical effects, which make the experience more satisfying and immersive. Special Effects: 7/10 SOUNDTRACK Nicholas Britell class and talent is felt throughout all the show, as he enhances moments of high tension and moments of great pathos. Not only that but there is an episode where the music has a important role for the plot and character development. In this episode the show accomplishes a remarkable feat by putting on a live performance by a real musical band. I'm beyond impressed. Soundtrack: 9/10 COSTUMES The aliens makeup is awesome and well done while the people clothes are realized with extreme care and attention to details. Costumes have a relevant role because there is a character who has to change his appearance in order to mantain his status. I also like the uniforms worn by the Empire, defined by black and white and blu or white squares representing the rank and the attire worn by the musical band of Ferrix. Costumes: 8/10 CONCLUSION Script: 8/10 Acting: 8/10 Photography: 9/10 Editing: 6/10 Special Effects: 7/10 Soundtrack: 9/10 Costumes: 8/10 AVERAGE: 7,85 Just watch it. This is one of the best of Star Wars with The Mandalorian. Director: Toby Haynes Screenplay: Tony Gilroy Cast: Diego Luna, Kyle Soller, Adria Arjona, Fiona Shaw, Stellan Skarsgård, Denise Gough, Genevieve O'Reilly, Faye Marsay, Varada Sethu, Elizabeth Dulau Soundtrack: Nicholas Britell Cinematography: Adriano Goldman, Frank Lamm, Damián García, Jonathan Freeman Running Time: 43 min By @the_owlseyes

Reviews by: @augustkellerwrites Edward Scissorhands is a surreal fairytale that critiques the artificial prejudice of suburbia. It's a twisted adaptation that examines loneliness, judgment, ethics, exploitation, conformity, humanity, privilege, creation, and identity. These themes are sometimes obvious, unoriginal, or incomplete, yet they're always sincere. Specifically, the tragic ending doesn't have a clear arc, flirting with muddled messaging. Similarly, characters are flat and the romance is contrived, but that's all auxiliary to the thesis. Meanwhile, the acting aptly balances camp, range, physical expression, evolution, and heart. Overall, Edward Scissorhands' script is imperfect, but its objective remains relatable. Technically, Edward Scissorhands has significant style. Intentionally theatrical, it fuses macabre German expressionism with whimsical innocence. Elfman's music perfectly modernizes the dramatics of a classical ballet. The iconic casting positions stars into career-defining roles that were against type at the time. Its visuals use symbolic lighting, colors, composition, and angles. The exaggerated production design juxtaposes hyperreal 1950s traditionalism with gothic outcasts. Furthermore, there's figurative sound, multifaceted effects, and a fable-like editing structure. Ultimately, Edward Scissorhands is passionately crafted around an empathetic premise. Writing: 8/10 Direction: 10/10 Cinematography: 9/10 Acting: 8/10 Editing: 7/10 Sound: 8/10 Score/Soundtrack: 10/10 Production Design: 10/10 Casting: 10/10 Effects: 8/10 Overall Score: 8.8/10 By @augustkellerwrites

Reviews by: @picturesinflow Empire of Sin is a Xcom style strategy game mixed with a semi city builder/management sim. You are placed firmly in the 1920s Prohibition era in the midst of a gang infested Chicago in the fight of who gets to control everything. A fun game that requires thinking at first and then steadily drops off in the later hours, different mechanics to implement and different playstyles to experiment, but they all fall down thanks to its barebones story, one way for victory and forgiving difficulty. Gameplay requires thinking about how to engage each encounter and how to adapt if something changes drastically. After you get the hang of it and have equipped each companion with the best of the best, things get easier fast and are just a cakewalk till the very end. Building different business requires of course money, alcohol, can you defend it quickly and depending on the picked upgrades, how much money and even if the police activity will just scour the area or go arrest everyone in it. The only way you can beat the story is through total Domination, since you have to beat each leader on the map, and for this I would have wished more ways to win, since some leaders were pretty nice to you. Graphics are beautiful if you pump everything to the max, but still even on lower they are pretty respectable, just don’t zoom too far in. If you are a fan of jazz music then Empire of Sin will be a treat as everything has that implemented into it, and the pace will change depending on what you’re doing. In Empire of Sin, you can choose to carry guns, shotguns, snipers, rifles, machine guns and a plethora of melee weapons. Weapons and weapon variety is respectable, different weapons work in different occasions, and with melee as a fallback nothing can offer much in the way of challenge. Gameplay: Divided into two games at times with one being your Xcom style strategy with heavy use of attributes of character/weapons and the other being a city builder/management sim. Let’s first cover the main attraction point of most players and that would be the fights. For anyone that has played Xcom they would feel right at home with heavy use of cover, choke points to get in cheap shots through overwatch, bombing clustered enemies to disrupt their position, having medics running along healing other members, enforces weaving from cover to cover to get in position to deal maximum damage, snipers covering from very far without any harm to their range and much more. Due to it being a mix of many elements in the midst of battle, each player can try many different strategies on how they would engage each problem. In terms of gang leaders, they are interesting and normally have a unique weapon and a unique buff to accompany them in battle, while also having a unique business arrangement which helps in the other part of the game being city builder/management sim. It’s a simple matter if I have enough resources to invest in building this one business, so that it helps in the long run to generate more to construct move. Empire of Sin offers the option to build business such as Brewery, Bars, Hotel, Brothel, Casino and Safehouse, these different buildings have unique mechanics, for instance a bar requires more alcohol, but earns the most consistent amount, casinos don’t require as much alcohol, but their revenue stream is very inconsistent. Hotels help the other businesses in a way of bringing as much people as possible, brothels are a safe bet, but don’t earn as much. Mixing and matching building to your specific needs is how you win and if someone decides to raid your business or raze it, will you have enough left to manage and not be in a net negative. Taking over each neighborhood can be fun if you make it fun, you can start up a business arrangement offering different buffs depending on the character, make one of your companions a mole to learn about the inner doings of an enemy gang, offer tributes in ways of alcohol, weapons, money and more. However, they start to feel same-y after about the second gang, they just exist and at one point just decide to conquer another gang, but not in a way so that they can guard it easily, but by just going in a random location. They can ask for sit-downs in different business building to offer you an alternative way of keeping good faith with as much people as possible. Once I was in all-out war with another gang, going in to kill their outer and inner guards, raze the building, and if it is the storage building, even raze the whole neighborhood, which in turn makes them lose control of it, and makes it so that thugs have taken control. Another gameplay part that I liked was the mechanic of the ‘Black Book’ here you can find the best companions which all have different relationships between each other. One person can be a friend/enemy or lover to another and that can change their relationship to you and even if they decide to stay in the group. At one time one of the group members fell in love with another, but since that person already had his lover recruited previously, he was taken, but that didn’t stop the first one to get heavily jealous and straight up shoot his lover. That became deeper as he became sad and left the group, so after that event I was left with one dead group member, another sad and left, and 1 who I couldn’t trust to just snap and kill again (and of course having a debuff due to losing a member of the group, which she killed, in a way debuffing herself). Overall, an interesting implementation which has the potential to create stories within stories. Story: Empire of Sin is set in the 1920s Prohibition-era Chicago in midst of a gang war with different neighborhoods being controlled by unique gangsters with their own backstories. For instance, I chose O’Donovan an Irish fella on the run from his home country and is trying to make a name for himself here by any means necessary. That’s practically all the backstory for this one character and with very slight variations on them all, the overall idea stays the same. You have quests which, of course, offer rewards upon completion, and some even different paths of completion. Most main story ones are ‘take over 1 neighborhood’ and after finishing it ‘take over 2 neighborhoods’, you get the point. However, they didn’t compare to how interesting some side quest can be. From making me enter an enemy territory and poison their alcohol storage, track down one of my working ladies in the strip club, helping a police officer track down a criminal (or help the criminal), and many many more with each offering branching paths to completion. I would have appreciated different ways to achieve victory and not just the domination path, some of other gangs have interesting leaders who offer arrangements, trades, protection constantly (mostly when they see you get stronger than them) and with all that at the end I still have to kill them if I want victory. Make it so that I can merge both and take over control or make them sort of a vassal, have their autonomy, but for bigger picture stuff they come to me. Graphics: Moody, atmospheric, run down, cheap and dirty, this is how I would describe 1920s Chicago, at least how it is brought to life in Empire of Sin. The stand out, except the overall era correct fashion sense, is the lighting, as it serves to increase the fidelity of each surface, you can push it to look even better with a plethora of graphical options. Especially, if you pump up reflections to the max each and with Chicago being at all times in a state of wetness, each surface shines from afar. Music, soundtrack and audio design: Due to it being set in the 1920s Chicago one would expect it to be overwhelmingly Jazz and he would be correct. Jazz is playing through every moment with it being slower depending if you are just walking and interacting with NPCs and ramps up the moment a fight breaks loose. The streets are filled with people chatting to each other, cars and truck paving their way through back alleys (and honking furiously the moment you step in front of them). Each character (from gang leaders and the black book hired guns) has their unique voice, but to that extent normal guards have about 4-5 different voices and that’s it. Machine guns have that crunch-y sound of bullets just mangling enemies’ innards and sometimes making them get out of cover, and snipers can sound devastating with some shots downright sticking enemies to walls with how much power is being transferred. Customization: Bar weapons that can change the look of characters since you can see them fire with what they have equipped, and mostly that’s it. Each character already comes fully customized and even if you equip them different armour types their appearance doesn’t change. Size of buildings can change how different businesses look inside, for instance if I build a tavern in a small or large building their interior is drastically different, more or less rooms, hallways or not, more than 1 bar to order drinks and much more (and that stays true for other businesses as well). Weapon variety: A variety of guns, shotguns, snipers, rifles, machine guns and a plethora of melee weapons. As expected, each weapon shines in their own field, with snipers being great for long distance overwatch shots when the enemy is moving, shotguns are great at disrupting enemy position and trying to get them out of cover (if you have a character with great marksmanship, they can use a shotgun at a pretty respectable range). Traditionally in video games where the main way of combat is focused on ranged, melee can be the riskiest way of fighting, but the most rewarding due to its sheer amount of damage or other special abilities that ranged just doesn’t offer. I had a few people in my group that solely focused on getting in your face with a heavy blunt weapon or a fast slashing one. These characters were equipped with the sturdiest armour and due to them being the class ‘Enforcer’ they were granted more HP than usual, and with that combo they could enter, deal damage, and even if they don’t kill that enemy and or get surrounded, they would still survive. In conclusion, there is a respectable number of weapons with different attributes, range and situation specialty, and each is a recreation of real weapons used in the olden times of the 1920s. Difficulty: This is the biggest negative, early game is hard but doable, the moment you enter mid-game or the moment you beat your first gang leader, you begin total domination. I was buying time in the early to generate a huge amount of money so that I could buy everything and after all that, then I began to engage in skirmish tactics or all-out war, with dividing my team to attack in more than 1 place at a time. The hired guns that you can acquire from the previously mentioned ‘Black Book’ far outclass standard guards, which in turn makes every encounter pretty easy. Only the last fight with a gang leader can be somewhat different, since every leader has the option to hire from the ‘Black Book’, some can be there in the last fight to add difficulty. At the last few hours, I was just mowing down each neighborhood and their leaders with almost no hassle. Advancement difficulty: For all completionist out there, Empire of Sin has a plethora of different achievements, however they lean more on the hassle part, and not the fun and or challenging one. For instance, since we have different characters with which we can start our grand adventure, you have a unique achievement for finishing the game with each one. If there were different ways to play and win one could for instance take up the challenge to do just that, but since there isn’t much difference between each playthrough, you really have to love the game those set of achievements. Another example would be that there a dozen achievements dedicated to taking down each leader, but if that leader is taken down by someone else that whole achievement is gone, now you have to reload a previous save or if you haven't saved, start up a new game. You can find Empire of Sin on Windows (Steam, Epic Games Store, Humble Bundle, Green Man Gaming, Gamefly (For Xbox/PS4/Switch), Xbox App), macOS, Xbox One, Playstation 4, Nintendo Switch. By @picturesinflow

Reviews by: @underground1film Opera sanatçısı Naya, şiddetli bir tartışmanın ardından kocası Noev tarafından boğulurken sesini kaybeder. Eğer gece yarısından önce, sebep olduğu kötülüğü tamir etmezse kocasını terk etmekle tehdit eder. Kendini suçlu hisseden Noev ise, kendisini affettirecek sesi bulmak için farklı farklı yeraltı dünyalarında çaresiz bir yolculuğa çıkar. Adan Jodorowsky’in tuhaf ve ezoterik görüntülerle dolu olan kısa filmi The Voice Thief, -yazarın babası- sürrealist yönetmen Alejandro Jodorowsky tarafından yazılan aynı isimli kısa öyküye dayanmaktadır. Alejandro Jodorowsky'nin en çılgın ve en tuhaf fikirleri, Dario Argento'nun en barok korkuları ve Nicolas Winding Refn'in stil sahibi provokasyonlarının kutsal olmayan bir geçişi gibi, gerçeküstü, fetişist, ikonoklastik ve en çılgın ayrıntılarla zengin olan The Voice Thief, nefes kesici görsel bir kompozisyona sahip. Asia Argento ve Cristobal Jodorowsky’nin başrolde yer aldıkları filmin kadrosunda, Türkiye ve İtalya’da oyunculuk yapan ve sektörde ayrıksı bir konuma sahip sevgili Serra Yılmaz da yer almaktadır. By @underground1film

Reviews by: @the_owlseyes "Silicon Valley is a mindset, not a location" Reid Hoffman PLOT "Follows the struggle of Richard Hendricks, a Silicon Valley engineer trying to build his own company called Pied Piper" or "A comic take on The Social Network" SCRIPT At first it looks like just another comedy series but it's actually more than that. It's a show which explores the hardships a dev has to go through to build an app or program and make it profitable, the ruthlessness of the tech giants who don't care about the small guy and wants to swallow everything which threatens them, the point of view of coders, who are portrayed in a believable way. The show also explores other themes like friendship, wealth, knowledge, social interactions, love, all with a nuance which isn't usual these days. All the characters, even the worst ones, get an arch which makes Silicon Valley satisfying to watch. The series last season is a good piece of social satire and a cynical look at the people who got forget after trying to change the world. This show doesn't give them an happy ending because in the real world they won't get it. It's a daring series which will keep you interested and amused in every episode, even the ones where there's more filler. Script: 9/10 ACTING All the actors manage to show their comic and dramatic chops by imbuing their characters of a wei9rd charm which stick. I think that Thomas Middleditch does an incredible job as the main character, who struggles with his ethics and his minds to reach his dream. I like how he's able to portray a geeky dev with social issues easily. The same goes for Martin Starr, Kumail Nanjani and Zach Woods. Josh Brener, Amanda Crew and Jimmy O. Yang are there but are hardly felt. The second one gets to do more in the last seasons fortunately. Matt Ross, who I've seen only here and American Psycho, does a good job at portraying a ruthless and apathetic corporate manager. And then there's TJ Miller, one of the best thing opf this series who disappears after the forth installment. At first I thought that his flamboyant presence would've left a large hole in the show but they managed to fill it by giving more depth to its main characters. Acting: 8/10 PHOTOGRAPHY The light is mostly flat and colors don't have a meaningful role. Asn many other sections...I'm very disappointed. Photography: 6/10 EDITING Apart from the times which is used well to emphasize the comedy in a scene, overall is pretty stale and unremarkable. I've expected more to be honest. Editing: 6/10 SPECIAL EFFECTS There're a few and are used carefully. Considering that the series tries to be as grounded as possible, I didn't expect much more from it. Special Effects: 6/10 SOUNDTRACK It's forgettable even though it's used well. It's more like background noise to be honest. I'm disappointed because HBO series usually deliver in this section. Soundtrack: 6/10 COSTUMES There isn't much to say about these, because there isn't anything remarkable here. Sure, there are some jokes which revolves around clothes but I don't think that these add much to the plot or thge character. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 8/10 Photography: 6/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 6,71 A remarkable series by HBO which blends comedy and drama for an exciting ride. Watch it. Director: Mike Judge Screenplay: John Altschuler Cast: Thomas Middleditch, T.J. Miller, Josh Brener, Martin Starr, Kumail Nanjiani, Christopher Evan Welch, Amanda Crew, Zach Woods, Matt Ross, Suzanne Cryer, Jimmy O. Yang, Stephen Tobolowsky, Chris Diamantopoulos Soundtrack: Jeff Cardoni Cinematography: Jim Denault, Tim Suhrstedt Running Time: 30 min By @the_owlseyes

Reviews by: @the_owlseyes In a way, we're all liars. PLOT "Seven long-time friends meet for dinner. They decide to share their text messages, emails and phone calls. Secrets are unveiled. Harmony trembles" or "Seven Broken People" SCRIPT This is the one and only strength of this flick. Sure, sometimes the lines are a bit weird and unrealistic, but, as a whole, it's impressive. This movie manages to expose a lot of problems about our society without any kind of restraint. It goes against the concept of marriage, friendship, love, sexuality, parentship and truth by tearing down each of them, one by one. The characters are well built and the confined setting help the audience get in touch with them easily. The story is structured as a crescendo which culminates in a creepy but fitting ending which makes us feel particularly bad. After it the idea of any kind of relationship feel alienated and cold. Script: 9/10 ACTING I think that Giallini, Foglietta and Mastrandrea give the best performances by showing a decent range and charisma. I can't say the same for Smutniak and Battiston. I won't even talk about Rohrwacher who seems stiff and lifeless, probably one of the worst performances I've ever witnessed in a serious italian movie. Overall is decent but nothing really interesting. I would also add that sometimes the line delivery felt motionless and poorly acted. Acting: 6/10 PHOTOGRAPHY Mostly flat and boring. I've hoped for something better but...I was wrong. Photography: 6/10 EDITING It is neither bad or good, it's just mediocre and uninspired. Still, it's enough to keep this movie afloat. Editing: 6/10 SPECIAL EFFECTS There is just one thing which is CGI: the eclipse. Well, it doesn't look good and it's probably the fakest moon I've ever seen. Special Effects: 5/10 SOUNDTRACK I would've preferred a movie without soundtrack to emphasize the growing tension of it but, instead, I've got a movie with an anonymous soundtrack which sounds like an afterthought. Soundtrack: 5/10 COSTUMES There isn't much to say about it. Ordinaryb clothes worn by ordinary people. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 6/10 Photography: 5/10 Editing: 6/10 Special Effects: 5/10 Soundtrack: 5/10 Costumes: 6/10 AVERAGE: 6 A movie with an extremely relevan and remarkable script hindered by its mediocre directing. Director: Paolo Genovese Screenplay: Filippo Bologna, Paolo Costella, Paolo Genovese, Paola Mammini, Rolando Ravello Cast: Giuseppe Battiston, Anna Foglietta, Marco Giallini, Edoardo Leo, Valerio Mastandrea, Alba Rohrwacher, Kasia Smutniak Soundtrack: Maurizio Filardo Cinematography: Fabrizio Lucci Running Time: 97 min By @the_owlseyes

Reviews by: @augustkellerwrites She Said blends information and emotion. It covers dehumanization, corruption, inequality, consent, and trauma. This is all interconnected, but it's a lot to unpack. Plus, the film is highly procedural. Collectively, this leaves little space for traditional character development, which can feel oddly impersonal. Still, the acting remains powerful. The leads maximize their roles with tactful layers, quiet stress, and subtle tells. Meanwhile, the supporting characters provide pivotal vulnerability and intensity. This allows for a satisfying resolution despite remote suspense and conflict. Overall, She Said sacrifices conventional arcs, tension, and clarity for meaning and accuracy. Technically, She Said is impartial, enabling the narrative to resonate. It has restrained visuals, professional production design, and an experienced cast. The editing is understated but manages complex threads and pacing through montages, intercuts, cooldowns, fades, and inserts. Also, its sound is conversation-heavy, utilizing layers, split cuts, voiceovers, and distance to calibrate impact. Finally, the soundtrack feels fairly typical but it's pensive, elegant, and appropriately emotional (despite overdramatic moments). Ultimately, She Said is reserved, showing the details around systemic violence rather than the violence itself. Some might find it dry, but its objectivity is strength. Writing: 9/10 Direction: 8/10 Cinematography: 7/10 Acting: 10/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 8/10 Production Design: 7/10 Casting: 7/10 Effects: 6/10 Overall Score: 7.8/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Strange World buries interesting nuggets under predictability. The climax reveals a thematic metaphor connecting environmentalism to biology, worldbuilding payoff, and converging emotional arcs. Unfortunately, this might feel too little and too late for viewers. The characters' traits, conflicts, and growth are motivated and competent, but it's all so formulaic that audiences might check out before the plot finally gets juicy. This is a shame since the premise, drama, ending, and cast all have potential. It's just slightly underutilized and, thus, slightly underwhelming. Still, it's hard to condemn Strange World too much because its heart is in the right place. Technically, Strange World is competent. Its cinematography uses adequate depth, color, focus, lighting, steadiness, and composition. The editing employs montages, match cuts, wipes, passing cuts, and rhythm for a nostalgic style and decent pace. Its production design is fairly unique, incorporating retrofuturism and biology-based aliens. Meanwhile, there's detailed animation, an experienced cast, generic but mystical music, and sci-fi sound designs. Overall, the tone is rather light, the structure is probably too formulaic, and the acting feels confined, but Strange World has enough energy, filmmaking, and meaning to be worthwhile. It's not great, but it's acceptable. Writing: 6/10 Direction: 6/10 Cinematography: 7/10 Acting: 6/10 Editing: 7/10 Sound: 7/10 Score/Soundtrack: 6/10 Production Design: 8/10 Casting: 7/10 Effects: 8/10 Overall Score: 6.8/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Aftersun is subtly soulful. It follows an understated father-daughter relationship while effortlessly digging into heavy topics. Through a gentle and indirect story, Aftersun contemplates mental health, communication, perspective, memory, time, connection, growth, and vulnerability. These interpretable themes are quietly woven into small moments between endearing characters, making it incredibly relatable and subconsciously striking. Meanwhile, the acting of Mescal and Corio is perfectly in tune with the film's delivery. They provide vivid chemistry, layers, range, nuance, internal tension, and authenticity. Consequently, Aftersun is delicately elusive yet intensely insightful. Aftersun is both a surreal metaphor and a grounded memoir achieved through restrained filmmaking. The editing intercuts dreams, home videos, memories, and the present. There's sentimental pacing, match cuts, dissolves, inserts, montages, passing cuts, and potent momentum shifts. Next, its visuals use varied lighting, telling composition, focus, angles, colors, motion, and one-point perspective. The symbolic yet natural sound adds split cuts, silence, emphasis, voiceovers, and meaningful diegetics. Finally, the music is ambient, nostalgic, and mournful, utilizing emotional scoring and redefined pop songs for thematic weight. Overall, Aftersun is intimately moving and poetically crafted. Writing: 10/10 Direction: 10/10 Cinematography: 9/10 Acting: 10/10 Editing: 10/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 7/10 Casting: 8/10 Effects: 6/10 Overall Score: 8.7/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Violent Night is thin. Its premise is cute and Harbour is ideal, but everything else is lacking. Exemplifying a film that works best as a trailer, Violent Night supplements its one joke with halfhearted Christmas tropes. Consequently, it feels uncertain, both subverting and emulating the genre. Plus, characters are unlikable stereotypes that don't pay off. Leguizamo, Hassell, and D'Angelodo try, but this mindless material can only flatline. Dialogue is transparent, humor is clunky, puns are inconsistent, threads are cluttered (so perspective is unfocused), plot points are cliche, backstories are corny, and tension is nonexistent. Ultimately, Violent Night offers very little connection. Technically, Violent Night is disappointing. Despite being so smug about its edginess, the film is fairly tame. There are some solid kills but the combat is mostly forgettable. Meanwhile, the momentum is dull because the tone is uncommitted, the sound has sparse emphasis, the effects are inconsistent, the supporting cast is inconsequential, the production design is unimaginative, and the music is stale (besides some juxtaposition). The cinematography shows brief creativity but is primarily unmotivated, drab, and muddled. Overall, Violent Night has potential but fails to support its strengths. The gimmick might satisfy some, but most will hardly remember it. Writing: 3/10 Direction: 4/10 Cinematography: 5/10 Acting: 5/10 Editing: 5/10 Sound: 6/10 Score/Soundtrack: 5/10 Production Design: 6/10 Casting: 5/10 Effects: 6/10 Overall Score: 5.0/10 By @augustkellerwrites

Reviews by: @augustkellerwrites The Fabelmans juggles vulnerability and safety. Themes about family tension, artist alienation, and prejudice have heart and spirit. However, these conflicts sometimes feel unearned and simplified. Instead of fleshing out the darker roots and daily struggles, The Fabelmans focuses on major plot beats which feels occasionally melodramatic. Still, there's weighty dialogue, synergistic parallels, and a classic story structure. Plus, many supporting characters are dynamic (contrasting the plain protagonist). This allows for acting layers, range, chemistry, pain, outbursts, commitment, and shifts. Overall, The Fabelmans reaches for sincere ideas but its lack of grit is an impediment. Technically, The Fabelmans is polished. Its cinematography uses many signature Spielberg moves, such as active camerawork, dramatic lighting, framing, composition, focus, and color. The editing energizes emotions with flashbacks, inserts, intercuts, montages, fades, match cuts, and careful pacing. Its sound is rich, utilizing diegetic inserts, symbolic exaggeration, smash cuts, split cuts, distortions, silence, echoes, and meaningful ambiance. The music adds era-specific songs, trans-diegetic piano, and grand scoring. Meanwhile, there's detailed production design, a recognizable cast, and varied effects. Ultimately, The Fabelmans has skillful craft but slightly sanitized relatability. Writing: 7/10 Direction: 9/10 Cinematography: 9/10 Acting: 9/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 9/10 Production Design: 8/10 Casting: 8/10 Effects: 8/10 Overall Score: 8.4/10 By @augustkellerwrites

Reviews by: @miscellaneous_media_reviews Sekiro: Shadows Die Twice is an action adventure game released in 2019. It is also one of the most recent games released by notorious development studio FromSoftware. FromSoftware is known for making incredible games that are also insanely difficult. Some of these games being Elden Ring, Bloodborne, and of course, the Dark Souls franchise. Sekiro keeps with this trend by being an extraordinary game, and by also being immensely difficult. The game follows a Shinobi named Wolf as he looks to save his young master and bring peace to the land of Ashina. I had a very interesting journey with this game, that actually didn’t start with me playing it. I was first exposed to this game on youtube as I watched many of my favorite content creators play through the title. It wasn’t until last August that I decided I wanted to try the game for myself. I’m now writing this review the night after beating the final boss. A whole eight plus months later. I played the first third or so of the game right when I got it, and then I took a long break. I only got back into really grinding through the game again over the last 3 months. It’s been over these last 3 months that I’ve slowly chipped away at it. I absolutely love this game, and I had an amazing time playing it. I would also like to preface this review by saying that I did undoubtedly have an easier time than those who went in blind because I had seen many playthroughs beforehand. This meant I knew the location of certain items, a few tricks, and I had been exposed to the move sets of several bosses. But despite this I still consider beating the game a great accomplishment. This was my first FromSoftware game, and while I recognized certain boss attacks and knew certain weaknesses ahead of time; having an idea of what to do, and actually being able to execute those ideas are two very different things. I just say this because as a result, I’m sure my own experience is very different from many others. One thing that immediately stuck out to me was the game’s soundtrack. It’s essential in immersing the player into this world, and it fits perfectly. The music is phenomenal and feels fully authentic to the setting. The score during boss fights is appropriately epic to fit the insane battles taking place, and the music for the different locations also works well and adds great atmosphere and ambiance. The game has a beautiful look to it as well. While the graphics aren’t the most polished I’ve seen, especially for a 2019 game, they never took away from my experience. This game still looks stunning, and they are by no means bad. If anything they fit the art style and aesthetic the game goes for. Each area, building, enemy, and landscape feels lovingly crafted and fully establishes this fictional setting within Japan’s Sengoku period. Sekiro contains many different locations that all share a connective tissue but also manage to feel unique and different. All the way from Hirata Estate to Fountainhead Palace, each location is full of unique enemies, bosses, challenges, and treasures. These areas are a fantastic blend of open world and linear paths. These maps are by no means sprawling, but they offer many different paths and routes, and are sometimes very expansive. But despite this they still feel finite enough to offer a sense of comfort. For a game that is very reliant on finding certain items, the game world never feels too overbearing. Rarely ever did I feel like I was missing something, and I felt like I was able to thoroughly cover each location. My only issue was with trying to find certain paths to progress the story. There are a select few important routes you need to take that are very tucked away. At one point after hours of going in circles I finally had to break down and look up how to find the right path I needed. But this was the only time I had to relent and consult the internet to find the right path. The game does have a map, but it is by no means detailed. It’s also kind of tucked away, so it’s entirely possible you might not even know it exists. This does mean you occasionally may have to stop for a second and look around to try and get your bearings. But again I only got truly lost a handful of times. Checkpoints are also placed generously throughout the maps. Very rarely did I find myself having to tediously play through long sections filled with enemies because of a long distance between Sculptor’s Idols. The vast majority of the time they were right where I needed them to be. Items and tools are also handled really well in the game. There are a plethora of items and consumables that can be acquired from all over the gameworld, and I thought these were implemented beautifully. I heard some people say that there were way too many items to keep up with, but I never had an issue with them. The items are categorized well, and they give you a good variety to experiment with. It’s great to have different options when in a fight to turn the tide in your favor. This game also uses the rarity of items perfectly. Many times in a game similar to this I would fearfully hoard all my rare and powerful items until the end of the game and end up with an absurd amount. But in Sekiro rare items are truly rare. After a full playthrough there were certain key items I had only obtained a small handful of. Using them feels much more consequential, but also strangely satisfying. This feeling of consequence makes them matter much more. I will say my only complaint is that the game does not really explain how consuming these items works. Some items refill once you rest, while others are gone for good once you use them. I have a feeling this is just a FromSoftware thing that threw me for a loop at first as a new player, but it was pretty devastating when I finally realized all the Ako’s Sugar I had been using didn’t refill upon resting like some of my other items. Additionally items can also be purchased from vendors across the game with in-game currency. This also feels very well balanced. Nothing feels overly expensive, and you never need to grind that much to build up a decent amount of Sen. Sekiro does also have a wide variety of skill trees and abilities that can be unlocked. The many different skill trees can be overwhelming, and unfortunately I do think these could have been executed a little better. It may have just been me but I never even used many of the offensive skills I unlocked because I could never find a use for them. I stuck with about 3 through the whole game. Most of my experience points went into latent skills which upgraded my health bar, healing items, stealth, spirit emblem count, etc. My main issue is that many of these upgrades to offensive skills aren’t very helpful. Considering that you do have to grind a good bit for many higher level skills, especially in the late game, it can be a bit disappointing to get one only to realize it isn’t that great. But this may be a purely personal issue. The prosthetic tools were also a fantastic addition to the game. There are many upgrades you can give to your prosthetic arm that have a wide variety of abilities. You can have 3 equipped at a time, and they each have their own niche. While I definitely used some much more than others I think they all add a great amount of dimension to combat encounters. Along with the different sword based skills, you can use the prosthetic tools to give you many different options during fights. However, they aren’t so crucial that you HAVE to have a specific one for certain bosses. For many bosses I didn’t use any of my tools. While there are some that will probably be pretty painful without the tools, they are still doable. I also didn’t have a very hard time finding most of them, and the game gives hints about how certain tools work better for certain enemies. So in this way the game really leaves it up to the player on whether or not they’d like to use them. The movement and combat is by far my favorite aspect of the game. Your movement is incredibly smooth, and quick. The grappling hook adds tons of new possibilities for traversal and even combat. It also makes map exploration much easier, and more enjoyable. The combat in Sekiro is easily some of the most satisfying I have ever played, and it’s what kept me coming back to the game. Each enemy has a posture bar that gradually fills as you strike them and deflect their hits. Once this bar is full you can immediately kill them with a deathblow. Each enemy also has a health bar. Meaning depending on the enemy you may have to slowly whittle their health down, or try to break their posture. Breaking an enemy’s posture is beyond satisfying, and it means you can kill some enemies without even getting them below half health. The clanging of swords sounds so sweet and impactful, and it becomes legitimately fun to try and chip away at an enemy's posture. Deflecting has a wonderful visual cue and sound effect which makes it even more satisfying then landing a clean blow on your opponent. Landing a critical deathblow is incredibly visceral and never gets old. Aside from grabs, all of the perilous attacks your enemies throw at you have counters that are beyond satisfying to land once you master them. This is one of those great games where you can feel yourself improve, and when the combat system finally clicks it's an incredible feeling. It is important to note that Sekiro does force you to play the style it wants you to play. You have other options in the prosthetic tools and other items, but the vast majority of the time the bosses and enemies force you to deflect, parry, and above all else, be aggressive. Once I finally understood what I had to do and grasped the combat system it really felt like I had leveled up. As far as the difficulty goes, I think it is hyped up appropriately, but it also remains fair. I had seen and heard about how many of the bosses were infuriating, difficult, and unfair, but I was surprised to discover that this wasn’t really the case for me. While I did my fair share of raging it was almost always at myself. Whenever I died I could clearly see what I did wrong. Either I jumped when I should have dodged, or I got greedy with my attacks, etc. While at first some moves from bosses did seem ridiculous and impossible to deal with; after enough trial and error I discovered that there is a viable solution for just about everything. Very rarely did I sincerely think something was truly unfair. The vast majority of the time I knew my deaths were my fault, and that drove me to improve my own gameplay, and made the game much more inviting. I was far more eager to keep trying despite all my deaths when I knew the problem was me and not some crazy unfair boss. I was confident I could improve and so I got angry less than I normally would while being stuck in a game. Learning the boss’s moves and figuring out when you can get hits in, what you can counter, and what tools you can use is a very fun feeling. I would fight a boss for a little while then take a break, and all the while replay the fights in my head. Thinking about what I could do differently, or what possible solutions there were for one of their moves. This may legitimately be the only game I have played where I had a blast while still dying to bosses. The combat is just so fun that oftentimes I didn’t even care that I was dying. I just enjoyed the rhythm and flow of the fights. I could tell with each attempt I was learning and improving so I just enjoyed the ride. Sekiro has a great story as well. While I do think it can at times take a backseat to the gameplay it is very enjoyable. Ultimately it’s a great motivator for the player to continue their journey. I do think it would have been better if more dialogue and exposition was given outside of static NPC dialogue. But despite this the story does still hold a good bit of weight, and I was pretty moved by the end. There’s some fantastic worldbuilding throughout, and I love how the story does things like changing the settings of certain areas in the map depending on what is going on. Or how the game gives a reason as to why you are able to die and come back to life. It’s a pretty simple story, but it left me satisfied and even wanting more, which I think is great for a game like this. In the end Sekiro: Shadows Die Twice is a phenomenal game. Despite a few minor complaints, this is easily one of the best games I have ever played. Everything from the art direction, story, music, sound design, and combat is top tier. It also provides a very strong but still fair and satisfying challenge. Ever since I’ve beaten the game I’ve still been watching tons of Sekiro content, and I really just can’t get enough of this game. I think this is about as close as a game can get to being a masterpiece. Objective Score: 9/10 Personal Score: 10/10 By @miscellaneous_media_review

Reviews by: @augustkellerwrites @tylernerdy_review Bones and All challenges viewers with contrasting emotions. Its open-ended script allows for interpretable themes. The plot could be a metaphor for addiction, poverty, sexuality, being different, or destructive consumerism. Ultimately, these protagonists have been condemned to unchosen lives of compulsion, self-hatred, compromised morality, isolation, and strained survival. Meanwhile, characters are significant, dialogue is natural, tension is subtle, and the setting is weighty. Plus, the acting is conflicted, layered, raw, believable, vulnerable, intense, melancholy, and understated. There is also great chemistry in the core romance. Consequently, Bones and All is tragically human. Technically, Bones and All is elegantly gritty, retro yet genre-bending. The visuals use film gauges, movement, composition, desaturation, focus, space, and varied lighting. Its production design is grungy and desperate. The editing employs dissolves, jump cuts, intercuts, smash montages, and deliberate pacing. Its audio is atmospheric and visceral, adding split cuts, narration, detailed violence, symbolic diegetics, stings, non-diegetics, and silence. The fitting cast is recognizable and the practical effects are vivid. Lastly, the unconventional music is restrained, unsettling, and heartfelt, perfectly harmonizing the inventive tones. Overall, Bones and All is refreshing and honest. Writing: 9/10 Direction: 10/10 Cinematography: 9/10 Acting: 10/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 10/10 Production Design: 8/10 Casting: 8/10 Effects: 9/10 Overall Score: 9.0/10 By @augustkellerwrites The other day I got out and saw Bones and All and found it quite interesting. I’ve never had to like cannibal characters before so that was a whole journey throughout the film. Taylor Russell is somehow so sweet in this movie despite the fact that she eats people!! She has a lot of screen time alone and with Rylance before she meets up with Timothèe Chalamet, the two of them work pretty well together even though their relationship is very confusing. Mark Rylance is phenomenally creepy as Sully and whenever he was on screen I felt sick and worried for the people around him. Michael Stuhlbarg and David Gordon Green have such an odd and short role about half way in that really only exists to give us the meaning behind the title of the film. I quite like that meaning, it’s nothing profound but it makes a lot of sense. Chloë Sevigny and Andrè Holland add so much trauma to Russell’s character and you can’t help but feel bad for her while also kind of understanding why they did what they did. Luca Guadagnino’s directing is the star of the show, this film is shot so well and what really gives it that level of separation from the usual book adaptation. But at the end of the day the movie is way too long. I think a lot of time could have been shaved off and a few scenes edited down a little, it has way too much breathing space. And it goes without saying that this is pretty gruesome, not as bad as other films that I’ve seen but considering the gore comes from cannibalism I thought I’d drop a fair warning. The very first time we see a person get bit they do not shy away from the damage done to her. I think Bones and All is a good watch for the determined viewer that might be better enjoyed at home when it’s steaming so you can speed up some of the down time. I think I would still give this film a solid 8/10 despite my run time issues. It’s well made, well acted, and despite being like only one song it’s well scored. There’s better things out to see this week though so if you can only see one I wouldn’t recommend this one but I would recommend seeing it whenever you have the chance. -Tyler. By @tylernerdy_review

Reviews by: @augustkellerwrites The Guardians of the Galaxy Holiday Special is very thin and largely inconsequential, but it pays off with heartfelt emotions and some character growth. That doesn't make this a must-see but it gives this little journey some satisfying weight. Plus, the usual James Gunn comedy is present and the primary actors enjoy their roles (especially the guest star). Overall, there isn't much to evaluate (as expected from a 45-minute special), but its family sentimentality ties in the holiday themes without feeling sappy. In usual James Gunn fashion, the rude humor and genuine heart strengthen one another, which almost justifies the fairly pointless and cliche plot. Technically, The GotG Holiday Special is slightly basic. There's a recognizable cast (though some stars are sidelined), elaborate production designs, and elevated music. However, beyond that, this feels inferior to its theatrical counterparts. The visuals utilize some movement and lighting. Its editing uses brief rhythm, montages, and intercuts. There are sci-fi sounds, successful tones, and retro animations to supplement the customary CGI. Yet, these aspects are mostly passive participants. Ultimately, this is a competent experience but it feels uninspired compared to what we've come to expect. Perhaps holiday specials are just inherently lower quality. Writing: 5/10 Direction: 6/10 Cinematography: 5/10 Acting: 6/10 Editing: 6/10 Sound: 6/10 Score/Soundtrack: 8/10 Production Design: 8/10 Casting: 8/10 Effects: 8/10 Overall Score: 6.6/10 By @augustkellerwrites

Reviews by: @picturesinflow Slumberland is a Netflix produced film made specifically for kids with beautiful visuals, quirky comedy, wholesome moments and an overall heartfelt message about dealing with something that is inevitable. We witness the story of a little kid who has received news that no kid wants to hear no matter how old they get and we follow how that specific occurrence transforms her life for good. It has that flair of over exaggerated facial expressions all in an attempt to make its target audience chuckle or go into full fledged laughter, even if it doesn’t make any grown up laugh, it will surely make the younger ones do. Nevertheless, Slumberland is a satisfying film for an evening watch with the whole family with the company of hot chocolate. Story is straightforward yet meaningful. As mentioned above, it’s a heartfelt message about learning to move forward after a tragic accident has befallen someone close to you. We follow the main character of Nemo (played by Marlow Barkley) in a life thrust upon her after the tragic passing of her dad and subsequently then being made to live with her uncle in a place very foreign to her. However, as night sets in her dreams are very vivid and are trying to help her in an indirect way. After a few nights of constant dreaming, with some dreams getting close to nightmare territory, we meet the other main character Flip (played by Jason Momoa), a fellow just playing around and having fun but without any meaning. Slumberland is a film made specifically for children and it being such means that it has to keep the attention of kids through its whole runtime. It tries to do it with overexaggerated expressions, an easy to follow story and tries to be relatable for today's youth. If it doesn’t hit that specific enjoyment with acting, story and or music, it surely hits it with amazing effects through and through. Maybe 1 or 2 times the effects it did seem either lower quality and or rushed, but that quickly changed with the next scene. A visual treat and a preferable watch at the highest resolution possible. In terms of comedy it’s quirky, and as we all know that comedy in its core is subjective, Slumberland tries to look on the bright side at all times even if it is ultimately about something sad. You can see the actors having fun with whatever they are doing and are not taking anything too seriously, so us as watchers, shouldn’t take it as seriously as well. This film doesn’t require too much thinking and if someone does try to get more meaning out of this one, that is their own personal agenda. Slumberland is a kids film from start to finish and it is a great watch for people of all ages. By @picturesinflow

Reviews by: @kieranatthemovies Sicario (2015) One of the best directors of the last decade delivers another pulsating, engrossing, masterpiece. Villeneuve is a master of his craft and his filmography is testament to that fact. Brilliantly bold, exhilarating action, heart pounding suspense and unflinchingly unsettling. It’s meticulously planned and cleverly written, not simply just another ‘cartel movie’, but a political action thriller that is steeped in bone-chilling tension. The beginning sets a precedent of unpredictability, laying a foundation that leaves you uncertain of just who the good guys are or what the character’s intentions may be. It’s shot beautifully. Villaneuve turns once again to Roger Deakins who provides the absolutely glorious cinematography. Showcasing the landscapes, creating almost suffocatingly intense scenes through steady camerawork and the action is truly fantastic. Blunt is great, she is the moral compass of the film, giving us an idealistic reference point and a truly good person to root for. Del Toro steals the show. Mysterious, calculating and terrifyingly cold blooded, one of his best. Brolin plays the arrogant bastard really well too. The performances are brilliant across the board. The sound design is fantastic. The long drones, pulsating beats, thunderous gunshots and even the silences fit each scene like a glove. Excellent score by Johannsson which just compounds and ramps up the tension. A true great of the action thriller genre that you simply must watch. “Nothing will make sense to your American ears, but in the end you will understand.” Rating: 9/10 Where to watch: @netflixuk Runtime: 2h 1min By @kieranatthemovies

Reviews by: @mariwatchingmovies Broadcast News (1987) dir. James L. Brooks When I find a movie I have literally never heard of before, that seems like a movie that I should have known about (for reasons like notoriety, hidden gem performances, or just generally ones that slipped by me), I tend to stop everything i'm doing and watch. This happened with Love Exposure by Sion Sono (now one of my favorites), and it happened again with this 1980s romantic comedy Broadcast News. Jane is a rising talent in broadcast news production, with her quippy best friend Aaron staying right at her side in the fast-paced work environment. The station's newest reporter, Tom, admits to his interest in Jane's immense talent and beauty, while Aaron continues to be in love with Jane from the sidelines. I love Jane. She is talented, hardworking and brutally honest with others, but then immediately absorbs their reactions. She has her moments of triumph in the newsroom, then loudly sobs as if to release as much tension and anguish as possible in order to save time. She's fiery, and all Tom wanted to do was use it for his advantage and tamper it when she got too hot. Aaron, her closest friend and confidant and someone who sees the world like she does, wants a love from her she can't give him. While she finds success and happiness from her peers at the network, she's too smart to not realize how neither relationship can make her happy. Hence the crying. More people should cry more like Jane does - the loud bellowing cathartic cries that ruin your makeup minutes before the coworkers arrive at all the surrounding desks. The surrounding storylines of the broadcast news network are just as interesting as the central romantic narrative. The writers carefully side-stepped boring genre tropes and subverted stereotypes to create charming character development that feels realistic. Also, for comedic purposes I was half expecting the broadcast theme song that those guys pitched to be silly, but it was actually awesome! By @mariwatchingmovies

Reviews by: @thereviewofeverything Starring: Awkwafina, Zhao Shu-zhen, Tzi Ma, Diana Lin, Yongbo Jiang, Aoi Mizuhara, Lu Hong and Chen Han. A Chinese family plan a fake wedding to see their dying grandmother - who is the only one that doesn't know about her unfortunate fate. I only watched this movie because of Awkwafina as I really like her. It was weird seeing her in an emotional drama though, she's more comedy. But that doesn't mean she didn't knock it out if the park. I actually really enjoyed this film. It was an interesting plot. The acting was wonderful, like I said, Awkwafina can do more than comedies. She perfectly encapsulated how someone would feel in her situation - stuck between about to cry and having to act completely fine. She did a good job. The music surprised me. I think it matched the movie well. I really don't know how to explain it. The violin playing abruptly added a sort of humourous aspect to it despite the movie being quite sad (since the movie is a tragicomic) and just nice in general. Kind of like if Umbrella Academy met Knives Out. I didn't mind almost the whole movie being in Mandarin, if anything it made me pay more attention otherwise I would miss what they say. I will say it wasn't extremely funny. I mean, when it told a joke I did laugh it just didn't tell many which is still fine it's just the other tragicomic films I've seen still have me laughing a lot. A nice watch. 7.5/10 By @thereviewofeverything

Reviews by: @movieswithjosh_ Neo Tokyo: 6/10 My feeble mind was no match for this film😂 What a trippy watch. In typical Katsuhiro Otomo fashion (director of Akira), this was an absolute gorgeous visual experience. Gorgeous, but a bit too mind bending for me. It was easy on the eyes and such a treat artistically, but I couldn’t quite get behind, nor understand what was going on. It’s a film that’s split into three shorts. Each short was different when it comes to art style and storytelling, and I did really like that. It was cool to see the contrast between stories, but the film unfortunately doesn’t put enough time into each short to fulfill you. It did offer a solid voice cast, score and sound design though🤔 The stories are all pretty random and confusing, but it’s the first short that hurt my brain the most. I was so lost. I couldn’t help but admire the bold and dreamlike visuals, but the story just never did anything for me. It’s partially because they were shorts, but also because they were aggressively complex. I think this film will give any hardcore anime fan their fix, but I don’t think it will totally click with non anime fans. Luckily, I’m right in the middle. I didn’t love the stories, but the visuals kept me locked and engaged. If you’re looking for something to watch while you’re high, this ain’t a bad option👌🏼 It’s a passable and okay watch. IMDb: 7.1 By @movieswithjosh_

Reviews by: @theg_flash_reviews Hey everyone here's my review of Master Z: The Ip Man Legacy, very good movie, this is a spin off from the Ip Man series and is based on Master Z aka Cheung Tin-chi and his journey after Ip Man 3. Story was pretty awesome picks up right after Ip Man 3 and how he went from Wing Chun Grandmaster to a mercenary and how he wants to leave the world of martial arts due to what happened in the last movie but then when corruption and injustices arose in Hong Kong and how it persuades him to get back into it; acting was great; characters are likable and well developed; Max Zhang or Zhang Jin as Master Z is pretty awesome though I still find Ip Man better, Master Z definitely has quite the skills to be unique in a way, his moves are different like his hands are faster and reflexes are faster as well, I also find it funny he always looks calm when he fights though; Michelle Yeoh being in this movie surprised me and she's a legit badass in this movie she fights so well; villains are pretty threatening Dave Bautista was a great villain; the action scenes are heart beating amazing just like the mainline Ip Man movies very well choreographed I especially loved one fight scene between Master Z and Michelle; soundtrack is nice; tone is balanced between lighthearted and darkness; some Chinese culture references; pretty dark secrets revealed; many twists I didn't see coming; a pretty nail to the top climax with an epic showdown and very satisfying ending. Overall I liked this spin off quite a lot it's better than I thought actually, and I would say despite Master Z being no Ip Man, he still delivered a very watchable martial arts movie, if you liked him in Ip Man 3 you will like this a lot. Do I recommend this, oh hell yeah! Go see it and maybe learn a few moves form the speedy hands grandmaster himself Master Z! I give Master Z: The Ip Man legacy a 9.1/10! By @theg_flash_reviews

Reviews by: @tylersnerdy_review On Wednesday the group I’m in that goes through a directors portfolio reached the second film of the fantastic Wes Anderson, this is his film Rushmore. In the group we had a good discussion about Jason Schwartzman’s character Max Fischer who most of the group really liked but I couldn’t bring myself to enjoy. I found his incel behaviors to be too distracting from the story. I also just straight up didn’t realize Max was Schwartzman, he looked quite different two decades ago. Bill Murray is always great and his Anderson roles always seem to be somewhat similar. Olivia Williams was fantastic and didn’t take shit from either of these boys and kept pushing them off and standing up for herself in great ways. Seymour Cassel, Brian Cox, Mason Gamble, Sara Tanaka, Stephen McCole, and Luke Wilson make up a really fun cast that kept the movie interesting. This movie had one of the best jokes I’ve ever heard and I’m really not kidding, everyone in the group confirmed it was their favorite joke from the movie, the one about the O.R scrubs. If you know the line you’ll get it. For me personally I also felt like this movie overstayed its welcome. I found myself looking at the time and how much time was left on the movie because it never seemed to end. There were a couple times I thought it would be ending and then it had so much time left still. Overall Rushmore is definitely a fun Wes Anderson film and while not my favorite definitely warrants a watch and discussion. I give Rushmore a decent 7/10. I’m very excited to move onto The Royal Tenenbaums in a couple days. Usually when I hear about Wes Anderson this is the one that gets cited the most. -Tyler. By @tylersnerdy_review

Reviews by: @tylersnerdy_review Many studios seem to have abandoned the straight up comedy for comedy’s sake style movie and that really upsets me. I had so much fun watching The Estate and I had an added bonus of seeing it in a completely empty theater which means I got to laugh as much and as loud as I wanted. Is it dumb? Yes. But is it funny? Hell yes. I haven’t had to say this in awhile but sometimes the critic brain needs to just shut the fuck up, turn off, and have a good god damn time. Once you do that, The Estate really opens up. Toni Collette makes this movie completely worth it on her own, I had to ask myself how much of the budget went to getting her. Anna Faris dipped on the last season of Mom to focus on movies and now I want to see more of her, she worked surprisingly well opposite of Collette. Kathleen Turner must have had a hell of a time on set laying in a bed for most of her scenes, she hates all of them so much which makes her so much fun. David Duchovny, Rosemarie DeWitt, Ron Livingston, Patricia French, Danny Vinson and Keyla Monterroso Mejia all round out a really fun cast that I really loved seeing together. Of course, it’s really hard to like any of these people using their dying Aunt for money, but their fight for her affection will leave you laughing and shocked at the lengths that they would go to. I don’t want to spend too much more time here because it’s not some masterpiece but it is a fun movie worth checking out once it’s streaming. I think it’ll be a lot more enjoyable at home honestly. A great cast come together with good jokes to make a decent comedy film, The Estate gets a 7/10 from me. -Tyler. By @tylersnerdy_review

Reviews by: @mr.cinemaaa Project Details Director: Sujana Rao Written By: Sujana Rao Dialogues: Sai Madhav Produced By: Burra Ramesh Karutoori, Venki Pushadapu & Gnana Shekar Production Houses: V.S Kria Film Corp & Kali Productions Cinematography: Gnana Shekar Music Director: V. S 'Maestro' Ilaiyaraaja Edited By: Ramakrishna Arram Art Director: JK. Murthy Costumes: Aishwaraya Rajeev Sound Design: Varun Venugopal Stunts: Jashua Run Time: 1 Hour & 54 Minutes CBFC Rating: "U" Direction & Story The film is an anthology based on 3 different stories of a deaf mom, a young cricketer & 2 homeless kids. How will they face the heavy rain and floods in Hyderabad while they are in their low phase of life forms the rest. The story by Sujana Rao is decent. The way she wrote the lead characterizations is good She has drawn inspiration from the Hyderabad floods & highlighted the sufferings of the poor and the affected lot neatly. Sadly the screenplay is very poor. The way the scenes are narrated lack an organic flow as there is no proper scene order to the screenplay. Just random scenes of the 3 stories keep coming which looks below par. Director Sujana Rao's idea of showcasing the issues of people during the floods is good, but her execution isn't up to the mark. Also, her narration looks very dull & the emotional connect is missing. Dialogues by Sai Madhav Burra are well written & go with the narrative. Lead Performances Shriya Saran is brilliant in a performance-oriented role & does exceedingly well as a deaf and helpless mom. The inner turmoil & sadness that her character faces is showcased well by the star heroine and the way she expresses it in a few scenes looks very real & believable. The 2 child actors who acted as the street kids are excellent in their roles & deserve special mention. Shiva Kandukuri is just about fine as a young cricket player. He doesn't get the body language of a cricketer right but he does well in the bus scene at the end. Priyanka Jawalkar is good as Zara but gets a limited screen presence. Her dubbing could have been better. Nithya Menen is wasted in a simple cameo and why she is even there in the film is hardly understandable. Charu Haasan is fine in his emotional character. Suhas, Priya, Indu Anand, Sanjay Swaroop, Bithiri Sathi, Nehant, Ravi Prakash, Raju & others are okay. Detailed Analysis Shriya Saran is brilliant in a performance-oriented role & does exceedingly well as a deaf and helpless mom. The inner turmoil & sadness that her character faces is showcased well by the star heroine and the way she expresses it in a few scenes looks very real & believable. The 2 child actors who acted as the street kids are excellent in their roles & deserve special mention. Shiva Kandukuri is just about fine as a young cricket player. He doesn't get the body language of a cricketer right but he does well in the bus scene at the end. Priyanka Jawalkar is good as Zara but gets a limited screen presence. Her dubbing could have been better. Nithya Menen is wasted in a simple cameo and why she is even there in the film is hardly understandable. Charu Haasan is fine in his emotional character. Suhas, Priya, Indu Anand, Sanjay Swaroop, Bithiri Sathi, Nehant, Ravi Prakash, Raju & others are okay. Technical Team Direction: 2.5/5 Story: 3/5 Screenplay: 2/5 Dialogues: 4/5 Music/Songs: 4/5 Background Score: 4/5 Production Values: 5/5 Cinematography: 4.5/5 Editing: 4/5 Costumes: 4.5/5 Choreography: 4/5 VFX/Graphics: 4.5/5 Sound Design: 4/5 Plus Points Shriya Saran's Performance The 2 Child Actors Performances Ilaiyaraaja's Music & Background Score Scenes During The Floods In The Second Half Cinematography & Lighting Production Design Decent Characterizations Minus Points Lacks Depth Poor Screenplay Slow Pace Rushed Climax Lacks Proper Scene Order Final Verdict A very slow-paced anthology with some good performances. P.S.: Can give it a try once for Shriya ' s act & 'Maestro ' Ilaiyaraaja ' s music. Recommended: 50-50 Mr.Cinema Rating: 2.5/5 0.5 - Unbearable 1.0 - Avoid 1.5 - Flop 2.0 - Below Average 2.5 - Average 3.0 - Watchable 3.5 - Hit 4.0- Super Hit 4.5 - Blockbuster 5.0 - Mega Hit By @mr.cinemaaa

Reviews by: @cinemaa.wiz The Illusionist is popular for the fact that its another movie related to Magician released alongside "The Prestige" and the main reason this movie is known just for that is because it fails to leave any mark, i.e, it falls flat. Firstly let me talk about the positives... The main one being that despite having so many flaws its enjoyable and that really counts for me. Edward Norton, no doubt, is a great actor and here too he feels good especially in intense scenes but tbh his expressions remain monotonous while Jessica Beil was good what she was given.... the real players are the actors playing Inspector and Crown Prince, they both were top notch. The Cinematography is well done, I kinda enjoyed the Yellowish tone that was given to this movie. And did I tell you this movie was quite enjoyable. Now the story towards the second half falls flat and gets kinda predictable... and although the aspect of the Magic shows is intriguing but that too falls at the end. The ending was meh, I mean come on dude you can do better, A guy realizing the whole story on a Train Platform. HOW ORIGINAL!! And Lastly, its hollow, its got a love story that's half baked... it got the whole illusion aspect thats hollow and doesn't provide anything at all 6/10 Overall its One Time Fun Watch, I don't see myself rewatching this one. HOW TO FIX IT? It doesn't matter if this movie remains a love story but the one thing that could've saved this movie for me, if it had a bit more inclination towards Magic, Not Illusion but Magic.... Turn it Supernatural and this movie works wonders, first of all the ending montage gets improved... secondly the movie gets some solidity and the hollowness vanishes. By just turning him Supernatural rather than just a very good illusionist... The movie turns into Magic. But again Thats Just My Opinion. By @cinemaa.wiz

Reviews by: @tylersnerdy_review Last night I made it out to the theater to see Bros and props to Universal for being the first major studio to make a gay romantic comedy. The amount of time I stopped and thought to myself “wow, this is really happening” was way too often. It just makes me so very happy knowing we have a place in this world and that our love can be appreciated on a scale this big as well. As much as I really loved this movie I don’t think it’s going to be very accessible to certain audiences. I know it’s wrong of me to say but there’s probably too much gay sex in this, at least, the type that they do. It needs to be some kissing and slight undressing before jumping to it being over. But each of the scenes in this movie are a bit too much compared to even most straight rom coms. And Billy Eichner might not have been the best choice for the lead, he’s very intense and forcing a lot on a lot of people very quickly. Like his scene at the dinner table with Aaron’s parents is going to make certain people pretty angry. Speaking of Aaron, Luke Macfarlane is pretty good as the straight acting gay guy, as essentially the king of straight Christmas rom coms it’s nice to see him get to be himself for a role. I was convinced he wasn’t actually gay but after a quick search he is and I’m proud of the creators for keeping it gay. Guy Branum, Miss Lawrence, Ts Madison, Dot-Marie Jones, Jim Rash, Eve Lindley, Monica Raymund, Guillermo Diaz, and Amanda Bearse all play such fun roles as the amazing spectrum of LGBTQIA+ people that exist. I’m pretty sure there’s a representative to each letter there except the last two. And again as much as I loved the movie I have to point out flaws as it still follows every single point of the rom com mold by the end even if they get there by rearranging some of the points. But Bros is definitely the movie you should see this weekend. Smile and Bros are both great movies but if you had to pick one I’d say pick Bros, you won’t come out disturbed and thinking about a bunch of suicide. I’m giving Bros an 8/10, very funny but not breaking the mold of what to expect. But I still most definitely recommend giving it a watch. -Tyler. By @tylersnerdy_review

Reviews by: @tylersnerdy_review I’m gonna try and keep this a little brief because I’ve reviewed Big Mouth five other times already so I don’t know what more I could say about this show that I haven’t already. Season six is just as fantastic as the previous five and just as raunchy, disgusting, and hilarious. I’d give my soul to be in this writing room, the jokes and antics they manage to come up with are just ridiculous. Nick Kroll continues to just kill it as so many fantastic characters. John Mulaney, Jessi Klein, Jenny Slate, Jason Mantzoukas, Fred Armisen, Jordan Peele, Andrew Rannells, and Ayo Edebiri are such an amazing cast. Every character they voice is so much fun and somehow gets a solid story arc every single season. You might notice I left someone out, if you know who it is and know anything about this account, I will ALWAYS take the time to give special shout outs to Maya Rudolph, I just think she’s so great and one of the best working comedians right now. Her Connie is easily the best part of the show for me. I really liked the story Connie and Maury have this season. The pregnancy story is so dumb but so funny. I feel like this season had a lot more singing to it but I love the songs so much. I loved the focus on family and what it means to different people, people who are going through some insane puberty. Also, if you haven’t seen Human Resources yet, you have to see it before starting season six of Big Mouth. There are a lot of carried over story lines and even some characters. I’m so excited for the second season of Human Resources and the seventh season of Big Mouth. Thank god Netflix continues to let them get away with far more than most other shows. Seriously another 10/10 season. They just keep pumping out great episodes season after season. -Tyler. By @tylersnerdy_review

Reviews by: @tylersnerdy_review The group I’m in that is going through a Directors portfolio finally wrapped on Edgar Wright and now we’re starting on Wes Anderson. So first up is his first feature film Bottle Rocket. I don’t really know how to feel about this movie, I liked a lot of it and didn’t like a lot of it. I really liked seeing Owen Wilson and Luke Wilson together in a movie, I’ve enjoyed their careers separately and it’s so weird to see them so early in their career together. But they work well with each other and the only time I liked Owen’s character is when he was with Luke’s. Robert Musgrave was alright but I felt so bad for him, poor guy was so mistreated. Now, I really liked Lumi Cavazos’s character but I didn’t like her story with Luke’s character. I just didn’t feel the chemistry and didn’t think they worked well together. Not to mention I signed on for a quirky comedy heist and not a rom com and that takes up a huge portion of the middle of the film. Somehow they managed to land the late great James Caan at the top of his career but I did really enjoy his scenes. I’m really excited to get into more of Wes’s films, I’ve only seen a few but I love them so much so I can’t wait to see his style develop over time. As for Bottle Rocket, I hate to give it a 6/10 but I just couldn’t get that into it. -Tyler. By @tylersnerdy_review

Reviews by: @augustkellerwrites @picturesinflow The Wonder is thoughtful. Some will find it stagnant because it emphasizes its delicate emotions over a thrilling plot. Plus, the acting is slightly one-note yet provides layers, vulnerability, physicality, and a specific dialect. It requires patience, but the drama is potent with substance. Themes explore ideological conflicts, free will, family dynamics, mental disorders, and women's suffering for men's folly. Its momentum is questionable as its tension plateaus, supporting characters are fairly flat, and the romance feels tacked on, yet The Wonder delivers strong reveals and a unifying ending. It has its drawbacks, but The Wonder also brings heavy insight and ambition. Technically, The Wonder is diligent. Its lighting is motivated and significant. Visually, there's also relevant movement, composition, and colors. The editing is slow but adds inserts, dissolves, a powerful match fade, and an easy runtime. The symbolic sound uses split cuts, silence, stings, and atmosphere. Meanwhile, the production design is detailed, the direction eloquently breaks the fourth wall, and the effects are suggestive. Finally, the music steals the show with mystical droning, unsettling chants, and trans-diegetic ambiance. Overall, The Wonder has confident filmmaking and messages which will polarize some, but should be generally respected. Writing: 8/10 Direction: 8/10 Cinematography: 8/10 Acting: 8/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 8/10 Casting: 7/10 Effects: 7/10 Overall Score: 7.9/10 By @augustkellerwrites The Wonder is a slow methodical mystery/thriller film on Netflix about a small rural village and their immensely special gift supposedly acquired from God himself. We are thrust upon 1860s Ireland in a heavily drab atmosphere where everyone is at first glance friendly, but almost all of them have something else developing in the background. To go more in depth, The Wonder is a film about religion (to be honest doesn’t matter which one specifically) and to what extent it can enlighten a person, or almost destroy a life. The main selling point is about a child called Anna (Played by Kila Lord Cassidy), and how supposedly through religion and or purely mystical forces she doesn’t need to eat anymore. The people couldn’t believe that such a thing can actually happen and even more to just specifically them. From that point on we meet an English nurse called Lib (Played by Florence Pugh) who is sent out to this particular village all in an attempt to find out what is actually causing this miracle. From that point on forward each character meets with our miracle child and helps in each way they can either through care or by sharing information. Each and every one played their role graciously, but a stand out was without a doubt Florence, there is always something magnetic about specifically her. Lib, as a character, is a very closed off person with much compassion for the needy. From day one she is going above and beyond in trying to find out what is actually causing this and in fact is this miracle actually plausible. Each character offers her just enough info, but at the same time barely any, as everyone sees her as an outsider and nothing more. As time passes by and weeks become months, characters loosen up around her, but as she is sent there only for a limited time, the mystery needs to be solved in a timely manner. With it being set in the 1860s in Ireland each location looks well lived in and in need of constant repair. Each clothing option is era specific and, as well as the buildings, is heavily well lived in. The overall atmosphere is absolutely perfect and added to the beautiful but dreadful representation. Thanks to it being slow and you gathering information as slow as the main character, The Wonder keeps you heavily engaged throughout its almost By @picturesinflow

Reviews by: @voir_un_film 📢 이상용 👨‍👩‍👧‍ 마동석, 손석구, 최귀화, 박지환 ⠀ 소포모어 징크스를 저 멀리. 그것도 한국 상업영화에서 이렇게 모범적인 속편을 낸 시리즈는 <강철비> 이후로 처음 보는 것 같다. 전편의 성공요인과 매력 포인트를 정확히 짚어 더 시원하게 풀어낸다. 상영시간이 줄어들어 더 컴팩트해졌으며, 더욱 강력해진 액션에 더 악랄한 빌런을 투입하여 우리의 마석도가 악당들을 싹 쓸어 버릴 때의 카타르시스를 더한다. 특히 음향과 액션에 신경을 쓴 것으로 보이는데, 인간병기 수준의 슈퍼히어로(?)가 어마무시한 물리공격을 가할 때의 타격감을 실감나는 음향이 뻥뻥 터뜨려 주었다. 액션은 전편보다 비중이 늘고 더 다이나믹해졌다. 여전히 칼로 거침없이 쑤시고, 신무기(?) 마체테로 무자비하게 도륙한다. 수위는 <다만 악에서 구하소서>와 비슷해 보였는데 훨씬 분위기가 가볍고, 무엇보다 코미디의 비중이 전편보다도 많이 커졌다. 참혹한 사건 현장으로 분위기가 무거워질라치면 아재개그는 기본이고 배우개그까지 동원한 드립을 연발하여 좌중을 찐텐으로 웃긴다. 기본 속성이 코미디가 아닌데도 최근 국산 쌍팔년도식 코미디들에 대한 답답함을 시원하게 해소해 주었다. 영화에 있어서 ‘오락’이 무엇인지 제대로 아는 작품이며 주요 캐릭터에 매몰되지 않고도(같은 배우를 내세운 안 좋은 예로 <성난황소>가 있었다) 영화를 그 자체로 즐기러 온 관객의 니즈를 정확히 만족시켜 주는, 영리한 속편. 8편까지 만든다고? 우리 마요미 하고 싶은 거 다해! ⠀ 🙆 “모범적이고 성공적인 속편으로 더욱 공고해지는 시리즈의 정체성” ★★★☆ By @voir_un_film

Reviews by: @augustkellerwrites Decision to Leave is pure anticipation. It's convoluted, but that's eclipsed by visceral emotions and consistent meaning. It's a seductive thriller, stressing psychological mysteries over criminal ones. Remastering classic tropes, Decision to Leave is both homage and innovation. The detailed script weaves payoff, symbolism, and conflict. Characters have sincere motivations, interactions, and growth. Dialogue is informative, natural, and poetic. The acting adds range, vulnerability, chemistry, layers, and subtly. Themes consider desire, perspective, responsibility, uncertainty, and inevitability. Altogether, Decision to Leave embodies tense passion with driven build-up and a devastating climax. Technically, Decision to Leave is methodical and surreal. The direction distills dense tones into an intuitive yet interpretable experience. Its weighty visuals use framing, motion, angles, composition, perspectives, focus, lighting, and color. The dynamic editing employs pace shifts, inserts, match cuts, intercuts, jump cuts, intellectual transitions, and passing cuts. Its sound adds echoes, split cuts, silence, distortions, intimate ambiance, stings, and emphasis. Plus, the music redefines motifs, the production design utilizes symbolic settings, and the effects evoke a mystifying atmosphere. Overall, Decision to Leave finds elegance in its implications. Writing: 9/10 Direction: 10/10 Cinematography: 10/10 Acting: 9/10 Editing: 10/10 Sound: 9/10 Score/Soundtrack: 8/10 Production Design: 8/10 Casting: 8/10 Effects: 8/10 Overall Score: 8.9/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Falling for Christmas is a derivative parade of predictable cliches. Its plot is contrived, its romance is stale, its characters are stock, its dialogue is obvious, and its emotions are alien. Plus, there are offensive whitewashings of financial struggles and emotional hardships. Ultimately, Falling for Christmas provides the shallowest illusions of drama. The conflicts are short-lived and easily resolved. Everyone walks around with plastic smiles, making the whole experience feel like an unrelatable facade. Certainly, some audiences want an easy and light experience, but there's no reason to watch Falling for Christmas over any other formulaic Hallmark movie. Meanwhile, Falling for Christmas feels like it was directed by an algorithm. It has some camerawork, but its lighting is ridiculously glamorized and its composition is completely flat. The runtime is thankfully short, but its pacing rushes emotions and its action is awkwardly cut. The sound design is cheap, the holiday soundtrack is painfully generic, the production design is sterile, and the effects are distracting. Furthermore, the acting has no chemistry or commitment. Falling for Christmas is only notable because many support Lohan's comeback, but this is a step in the wrong direction. Nothing is redeeming about this purely cynical cash grab. Writing: 2/10 Direction: 1/10 Cinematography: 4/10 Acting: 3/10 Editing: 4/10 Sound: 3/10 Score/Soundtrack: 3/10 Production Design: 3/10 Casting: 4/10 Effects: 2/10 Overall Score: 2.9/10 By @augustkellerwrites

Reviews by: @tylersnerdy_review I finally started to watch Abbott Elementary and literally binged the first season and the first half dozen of episodes of season two in less than 24 hours. I see why the show won at the Emmy’s, Quinta Brunson is truly the future of comedy and I’m so excited to see what the rest of season two has to offer. Brunson is fantastic as the lead of this show, she is so funny and relatable. I really like the almost natural chemistry she has with Tyler James Williams, and his dry delivery and lack of personality is somehow delightful and fun. Janelle James is a horrible Principal but damn I love her, she’s so ridiculous but so funny. Lisa Ann Walter is one of my favorites, I just love tough, no fucks given characters like hers. Sheryl Lee Ralph is just an absolute icon, her outfits never miss and neither do her line deliveries. Just all around an amazing character. Chris Perfetti is so annoying that he becomes adorable and fun and you just want more of him. William Stanford Davis is easily one of the best characters, he always comes in at just the right time with just the perfect nonsense to add to the scene. As dysfunctional as they are, they somehow make up the perfect family. Everyone just works so well together, even when you think they wouldn’t. It’s amazing to see that the show has already been picked up for a full 22 episode season after it’s first ten episode season. I’m going to keep this review fairly short since I’ll be back in May to review the second season, but if you’re not watching Abbott Elementary then what are you watching? An absolute 10/10 debut season for a sitcom. -Tyler. By @tylersnerdy_review

Reviews by: @tylersnerdy_review The next movie my AMC finally decided to play is one I have been very much looking forward to, Ruben Östlund’s film Triangle of Sadness. I have to say this at the start, I was really not expecting this to be the type of movie that actually says the title in the movie let alone one that says it in the first scene. Still trying to connect the meaning of the title to that line of dialogue however. I’d love to hear ideas from people smarter than me (just about anyone). Harris Dickinson is great here as one of four characters I found myself liking. His character just seems so sweet and I wanted so desperately to sweep him away from that embarrassing date scene at the start. Woody Harrelson is so fantastic for his very short time in the movie, it’s just his voice for so long and then maybe ten minutes with his face as well. But I loved his interactions with Zlatko Burić’s character. Charlbi Dean is on par with Jameela Jamil for crafting an incredibly unlikeable influencer character, she does such a great job and actually gets so much development. Dolly de Leon is just the best, her character is phenomenal and you will love her so much very fast. Vicki Berlin, Henrik Dorsin, Iris Berben, Sunnyi Melles, Oliver Ford Davies, Jean-Christophe Folly, and Amanda Walker round out an exceptional cast that make this movie feel so alive and interesting. I really was not expecting a few of the places this film went to and they answer a big question I had in one of the best ways possible which always delights. My only gripe would be the fairly open ended ending because much like Tár, despite the length of the film it seemed to zoom by. The two and a half hour run time seems daunting at first but it really isn’t that bad in the end. I’m giving Triangle of Sadness a solid 9/10 and a recommendation to see it at any theater that will be playing it. I had so much fun with this one and really can’t wait to see it again. I have a particular friend I’m exited to show it to. I could see this not being for everyone though so be warned that it is pretty fuckin gross about half way in. Just watch the trailer and expect to see a lot more of the grossness you see there. -Tyler. By @tylersnerdy_review

Reviews by: @mr.cinemaaa Project Details Director: Raj B. Shetty Written By: Raj B. Shetty Produced By: Ravi Rai Kalasa, Vachan Shetty, Srikanth & Vikas Production Houses: Paramvah Pictures, Coffee Gang Studio & Lighter Buddha Films Cinematography: Praveen Shriyan Music Director: Midhun Mukundhan Edited By: Praveen Shriyan Costumes: Shravan Bhandary, Rohith Shetty & Nikhil Amin Sound Design: Sync Cinemas Make Up: Ronex Xavier Run Time: 2 Hours & 31 Minutes CBFC Rating: "A" Direction & Story Set in the backdrop of the coastal and cultural city of modern-day Mangaluru, Hari and his best friend Shiva rise together to great heights only to face off as bitter enemies resulting in their own downfall & destruction. The story by Raj B. Shetty is very good. He constructs the story with competent metaphors and narrates the story from a third-eye perspective. It neatly portrays the relationship dynamics. business, cruelty, violence, and misbehavior of the Mangaluru underworld. The screenplay is superb in the first half & the interval is decent but the plot is dragged to the core with a few unnecessary and boring scenes in the second half. Director Raj B. Shetty's work in the film is brilliant. He does not forget the essence of the visual medium and he relies less on words & more on body language, as it is in real, to let you understand the The dialogues too are well written. changed relationship dynamics. Lead Performances Raj B. Shetty is undoubtedly the stand-out performer in the film. His Shiva character is one of the most beautifully written characters on screen in the past few years. He’s loyal to a fault and is ruthless, but he also loves cricket & the boys whom he plays with. He shows all these emotions perfectly in the film. Watch out for his footwear scenes and his rage on screen. Rishab Setty is equally good in a contrasting character as Hari in the film. He comes up with a more mature performance, underplays his role beautifully & passes with flying colors, especially towards the very end. Gopalakrishna Deshpande does complete justice to his role as the police officer. His character is unique and has been handled with great detail. Every other actor from the rest of the huge ensemble supporting cast have done their bit exceedingly well in their parts. Detailed Analysis The first half is the best part. The way it starts and the way the characters are introduced and how they grow to power keep us engaged. The bar scene and the cricket tournament scene are superbly shot. The second half is dragged for no reason. There is a lot of lag in the scenes that test our patience after a point. Due to this the intense drama also gets bogged down. There is a lot of violence in the film. But there's a certain poetry in all the killing scenes & the plot never glorifies it. It is all very matter-of-fact, either by force of circumstances or to keep oneself alive. But, ultimately, the film is about how loyalty triumphs overpower. The idea of Shiva wearing the footwear of all the victims is very unique and clap-worthy in the theatres. If the film had a crisper cut in the second half and the narrative could have been a little more pacy with some more drama, it would have been a huge hit. Technical Team Direction: 5/5 Story: 4/5 Screenplay: 3/5 Dialogues: 4/5 Music/Songs: 4/5 Background Score: 4.5/5 Production Values: 5/5 Cinematography: 5/5 Editing: 3/5 Costumes: 4.5/5 Choreography: 4/5 VFX/Graphics: 5/5 Sound Design: 4/5 Things to Look Out For Cameraman Praveen Shriyan lens follows every little small road with moss-lined compounds in Mangaluru and takes you along. His framing is exquisite, placing the subject in context and his lighting is perfect. The songs have a fresh feel & the background score is superb and they give a very unique experience with the impressive tunes and sounding. Production values are top-notch. Artwork & costumes are authentic. Plus Points Raj B. Shetty’s Terrific Performance Rishab & Gopalakrishna’s Performances All Other Supporting Cast Performances Story & Direction Outstanding Cinematography Superb Background Score Raw Scenes & Nativity First Half & Footwear Scenes Minus Points Too Much Lag Especially In The Second Half Few Dragged Scenes Editing In Few Scenes Lengthy Run Time Final Verdict A rooted & atmospheric gangster saga with a dragged second half. P.S.: Very bold filmmaking and is surely a good breakthrough for Sandalwood. Recommended: YES Mr.Cinema Rating: 3/5 0.5 - Unbearable 1.0 - Avoid 1.5 - Flop 2.0 - Below Average 2.5 - Average 3.0 - Watchable 3.5 - Hit 4.0- Super Hit 4.5 - Blockbuster 5.0 - Mega Hit By @mr.cinemaaa

Reviews by: @augustkellerwrites The Menu successfully marries commentary, dark humor, and thrills. Its themes consider the loss of humanity that comes from classism, ego, hivemind, and willful oppression. It doesn't get to the roots of these issues, but offers solutions of honesty and humility. Meanwhile, dialogue is quippy, events are motivated, setup is consistent, reveals are impactful, and the tension is riveting. The supporting characters are flat but defined. Plus, the acting adds chemistry, range, layers, intensity, mannerisms, timing, vulnerability, and disassociation. Specifically, Fiennes displays forceful emotions buried under restrained confidence. Overall, The Menu is sincerely dramatic. Technically, The Menu is discretely refined. Its visuals use framing, focus, movement, earthy colors, angles, lighting, steadiness, and composition. The neat editing employs tempo shifts, coordinated conversations, smash inserts, mini montages, jump cuts, and intercuts. The sound provides stings, layers, trans-diegetic ringing, synchronization, emphasis, split cuts, silence, ticking, and a clapping motif. Furthermore, the music is elegant yet moody, the production design is upscale, the cast is recognizable, and the effects support the suspense. Ultimately, The Menu has a detailed script, dynamic performances, and pristine presentation. Most viewers should find it engaging and thoughtful. Writing: 8/10 Direction: 9/10 Cinematography: 9/10 Acting: 9/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 8/10 Production Design: 8/10 Casting: 8/10 Effects: 7/10 Overall Score: 8.3/10 By @augustkellerwrites

Reviews by: @giryy_films The Master (2012) Directed and written by Paul Thomas Anderson Starring Joaquin Phoenix and Philip Seymur Hoffman ▶️ You can find it on HBO MAX in Mexico Synopsis: A Navy veteran returns with mental problems and no purpose in life after World War II. Until he meets Lancaster Dodd, the leader of a religious group called The Cause who offers him a job. When I finished watching this movie I didn't really know how to feel about it, since it seemed like a masterpiece in every way but it didn't quite connect with me. Something that happens to me a lot with Paul Thomas Anderson's cinema is that he is a director who leaves you thinking about his films and what they really want to say, for many this story can talk about how Scientology is a religion that was formed based on people looking for a purpose after the war, for others about the relationship between a teacher who seeks to leave his teachings on someone and a student who refuses to receive them. Being completely honest, although it is not my favorite of the director's, it seems to me to be one of his best works, especially his most psychological film. What stood out the most is the extraordinary lighting in the photography and the amazing performances of Joaquin Phoenix but especially Philip Seymur Hoffman, both delivering the best role of their careers in my opinion. In the end I would simply criticize that while watching it I felt somewhat disconnected from some scenes but on second thought it is a great film, Tqm PTA. By @giryy_films

Reviews by: @picturesinflow Moneyball is a sports film based around Oakland A’s general manager Billy Beane (played by Brad Pitt) attempt to assemble a baseball team on a strict budget by employing innovative methods to acquire new players. Now, after that handful of an intro, Moneyball is squarely rooted in the ‘Sport’ genre of film which almost anyone knows how it goes from start to finish. The up-and-coming underdogs need to fight with tooth and nail to achieve something that no-one believes they could. A tried-and-true story format that has worked and will work, since everyone likes a good comeback story once in a while. It showed prowess through the ensemble of actors and the absolute heights that they reached. Brad Pitt, Jonah Hill and THE Philip Seymour Hoffman all carry this film, and in the long run, they are the sole reason to give this film a chance. It is a slow and grounded film, it knows what it is and it ultimately stays in its own corner, without those big and grandiose moments some may require. A solidly acted film with the perfect pace and tone as to bring out the better parts and leave those repetitious parts accompanied by the ‘Sport’ genre at the door. By @picturesinflow

Reviews by: @tylersnerdy_review Last review for the night I promise. And I’ll even keep this one fairly short. I just finished another Wes Anderson film for my group chat and this week we did his third film The Royal Tenenbaums. Of his first three films this is definitely my favorite. Gene Hackman and Anjelica Huston are great as the Father and Mother of this family, you can really see parts of both in each of the kids. Ben Stiller, Gwyneth Paltrow, and Luke Wilson give amazing performances as the three siblings even if I’m not a total fan of where Paltrow and Wilson’s story goes at the end. Owen Wilson, Bill Murray, Danny Glover, Seymour Cassel, Kumar Pallana, Alec Baldwin, Grant Rosenmeyer, and Jonah Meyerson come together to form a very fun and dynamic cast that all have such interesting interactions. For me this movie really started to show the Wes Anderson directing style that I know. An amazing cast, a great soundtrack, and a really well told story meet great directing to craft one of Wes Anderson’s best movies yet. The Royal Tenenbaums was certainly not what I expected but it was full of laughs and shocks and I’m excited to move into the fourth movie, The Life Aquatic with Steve Zissou, which I have heard quite a bit about. The Royal Tenenbaums gets a big 9/10 from me. -Tyler. By @tylersnerdy_review

Reviews by: @tylersnerdy_review Right after Amsterdam I made my way to see Lyle, Lyle, Crocodile last week and while it was super cute it was not great. And yes, I did cry a couple times, but that doesn’t mean I’ll hold back on this movie. I was expecting much more musical numbers and I wasn’t expecting Lyle to ONLY speak in song. I was excited to see if Shawn Mendes could act but now I guess we’ll never know. Winslow Fegley is really fun here and his interactions with Lyle are fun. Javier Bardem is actually the best part of this entire movie, his character was so much fun and the only one that gets anything close to resembling a character arc. I’d also really like to know if his singing parts were really him because they were lowkey fire. Constance Wu and Scoot McNairy are okay here, but it is nice to see a good happy family for once. Brett Gelman is just such an annoying character here. It’s like his Stranger Things character never made friends or opened up. Lyric Hurd is done real dirty, I’m sorry but I really don’t understand the purpose of her character. The one thing she does is something literally anyone could have done. I really don’t have much else to say about the movie. It wastes no time in giving us Lyle content but waits a really long time to bring Lyle and Bardem back together and just follows the most childlike plot full of things that would never happen and can’t really be explained. Ultimately I think this is a fun family watch to throw on to distract the kids while you do anything else. Wait until it’s streaming, I wouldn’t advise spending money on it. I’m giving Lyle, Lyle, Crocodile a 6/10. -Tyler. By @tylersnerdy_review

Reviews by: @tylersnerdy_review The last film my AMC finally decided to play was Till. Granted, it did actually play before and it was three showings on a single day that I was busy for. But it came back and I’m so happy it did. The story of Emmett Till is one I heard in school ages ago that really stuck with me as a kid. The brutality of racism inflicted on an innocent boy is not quick to leave your head. For those unfamiliar with the story, Emmett was a young black boy from Chicago who went down south to visit his cousins in Mississippi. While there he “insulted” a white woman and whistled at her causing her to freak out which leads to a gang of white men hunting Emmett down. After finding him they beat him, shoot him in the head, and toss his body into the river. When his bloated corpse is pulled from the river his mother chooses to let the world see the body and really kick starts the Civil Rights movement. Having seen the real pictures of his body I feel horrible for the makeup artists that had to stare at those photos to faithfully and intricately recreate his corpse. Danielle Deadwyler delivers one of the most powerful performances I have ever seen, the grief she is able to portray left me speechless. Jalyn Hall is a wonderful Emmett and does such a good job portraying him as the happy kid he was. Frankie Faison and Whoppi Goldberg both do so good as grieving Grandparents but also support figures for Emmett’s mom. There are so many well filmed scenes, most notably however is the first time we see Emmett’s corpse. It was a real question for me whether or not they would show the body, how much they would show, and if I even wanted to see it. But of course they show it, that’s the whole point, it needs to be seen. Till is easily one of the most powerful and moving movies of not just the year but of all time. I have no choice but to give it a resounding 10/10 for meeting all the expectations I had for it. I would definitely recommend it, even to those squeamish to gore because I would also recommend looking up the real pictures before watching. They need to be seen, we need to look at what they did to Emmett so we can see the lengths these horrible people are willing to go to. -Tyler. By @tylersnerdy_review

Reviews by: @afcgaming Forza Horizon 5 is the latest Microsoft Game Studios game, developed by Playground Games and available for the Xbox consoles and PC. And what a game this is. To me this is the best racing game of all time. It mixes arcade and simulation perfectly; in fact you can adjust how hard or simulation-like you want the game to be. Of course, if I wanted a simulation, I would go outside and drive my fucking car, so I prefer a chill arcadey racing experience. And the game embraces that goofiness; you can drive 500+ different vehicles, sometimes weird stuff like parade trucks, and you will unlock them at a faster rate than you can hold your fluids from looking at those gorgeous car visuals. You will unlock cars with credits, wheelspins (a bit addicting honestly) and sometimes by completing different milestones. There are so many cars in this that you will probably never drive a big bunch of them, but who the fuck wants to drive a Ferrari when you can unlock a Renault Quatrelle anyway? The visuals are orgasm-inducing for car enthusiasts and open world gamers. Your eyes will cry if you play on Series X and PC. In fact this is one of the few instances where I prefer Quality mode over Performance (since the camera is mostly locked ahead you don't notice the 30fps much). It's not just the pornographic curves of the cars, but the map itself that is beautiful, ranging from a volcano to sunny beaches, the desert to the jungle. The custom decals also return, and people create some incredibly cool, funny and creative stuff. (Check the Rick and Morty Nissan I have). There are a few hiccups, with the cumbersome menus, the "small" array of songs on the different radio stations, and those damn fucking stupid bonus billboards (a bunch of them) being "high lowpoints". The game is incredible. Microsoft absolutely kills it this year, kudos to them! The best open world racing game of all time! You can use Windows startup sound as a horn. 9.5/10 By @afcgaming

Reviews by: @tylersnerdy_review I feel really bad not because I slacked off reviewing this but because I completely forgot I didn’t review it. I swear I had and then I looked at my posts and didn’t see it so here we are. This is my late review for Armageddon Time. After over a week I still don’t really know how I feel about the movie, it felt like they were trying to tell so many stories at once. And I still don’t know why they told a racism story from a white kid’s perspective especially since it seems like none of them learn a lesson about it by the end. Anthony Hopkins does a great job just as he always does, his character was truly the star of the show and I think we needed more scenes with him. Anne Hathaway is okay, just felt weird because this is unlike any character of her’s I’ve seen before but she does a good job with it. Banks Repeta and Jaylin Webb are really good and both have a lot great chemistry together but they do a bad job showing us Webb’s character’s life. We have no idea why he acts out so much when the movie is about the friendship of the two boys. I think a lot more time should have been dedicated to them together and Webb alone. Jeremy Strong has a couple good scenes but otherwise is just a dormant beast for the rest of the film. I think some solid work is done to connect the characters and the audience with anti-semitism, like changing names and fitting in, but they left that out of the trailers and really marketed this as a story of racism and family dynamics when it should have been bigotry in general. I think where it shines is in the family dynamics aspect but then they never spend too much time with other family members to let those dynamics sink in. It’s mostly just Repeta’s character with his Mom, Dad, and Grandpa, the others are left out of any meaningful development. At the end of the day they try to squeeze too many social issues into one movie. Not saying it’s an impossible task but these writers just couldn’t juggle it all at once. I was thinking an eight out of ten on this but I think I’ve talked myself down to a 7/10 score. It’s not bad, but it could have been a lot better with some slight reworking of the character dynamics and dialogue. -Tyler. By @tylersnerdy_review

Reviews by: @picturesinflow Black Crab (Svart Krabba) is a Swedish action thriller film about a country left almost beaten in a war and with their last option deployed, will they even manage to beat out the odds at the end. I found it in the deep library of Netflix of foreign films, offering at times more interesting stories (not in only Netflix foreign films, but all foreign films in particular) than their more popular American counterpart. Black Crab is a solidly made film in almost every aspect. Beautiful cinematography, unnerving atmosphere, interesting characters and much more can be said for this one, and with little to no expectations attached to it, it doesn’t need to reach any grandeur heights. One letdown would be that the plot outgrew the film and sadly, many films try to do particularly just that, I do understand why, but if it’s not needed or done badly then it’s plainly better to leave it out. Let’s start off with the good and that would be atmosphere and cinematography. Being set in the absolutely freezing cold of Sweden with a slight but noticeable blue tint over everything is great and adds to the already overwhelming dire situation. Adding to that would be the frozen over ocean and how calming, and at the same time, how dangerous it can be, each light source can become the thing that ultimately ends you. Just like in the film Wind River (with Jeremy Renner and Elizabeth Olsen) and how due to the abundance of snow each person with full camouflage or with a white cloth over him/her can just become invisible was unnerving. The same thing is true in Black Crab and that is you need to watch where you’re going, but at the same time hope that there is nothing watching back. Overall story is set up and plays off great with a divisive main plot point. In the midst of being overrun by attacking forces a squad of highly trained soldiers, and with all of them being perfect for this specific job, are sent to deliver a package to a faraway place. Now, if it was just them traversing forests and villages it would have worked too thanks to their specific world views and previous experience, but they have to traverse the ocean by skiing. The ice is very fragile, you are in the wide open just begging to be shot by a sniper, each bigger sound can be heard from a very far range, each of these specifics up the ante and will test each character’s nerves. Thanks to it being a slow film and with just a few characters we get to know how each one thinks and how they react when something comes up. Their psyches quickly break down giving way to something primal and that is the urge to survive no matter what, even if it means sacrificing someone. Thanks to the urgency that the film creates, they have to be on the run almost at all times. From time to time, they get a few moments to rest but before you can really catch their breath, before something that requires fast reactions and, on the moment, critical thinking has to happen, and with less and less time to rest, that becomes something hard to achieve. Black Crab is a great film nonetheless in almost every aspect, but for me, in the last half-hour it transforms into something that it shouldn’t have. Stakes are high as it is, tension is breathtaking at times and the onset of immediate urgency is rapid, a dire but fun 2-hour adventure through the frozen landscapes of Sweden. I do recommend it either way even with me not liking the end, it’s still a fun ride. By @picturesinflow

Reviews by: @tylersnerdy_review If I had to pick a few words to describe The Woman King they would have to be; Fierce, badass, empowering, gorgeous, and amazing. I had such an absolute blast watching this movie, from start to finish I was engrossed in every second. Some really great world building was done very fast because sadly, myself included, not many people know of the Kingdom of Dahomey or the Agojie Warriors that defended that Kingdom. But I bet they’ll know now. Viola Davis, Lashana Lynch, and Sheila Atim lead the warriors wonderfully, shining in scene after scene. Thuso Mbedu plays opposite Davis and Lynch masterfully and quickly makes room for herself among them. John Boyega is finally given a solid role. As much as I love Finn and how Boyega played the character he never got much time to shine, but here he gets his due. Hero Finnes Tiffin is so transformed that I didn’t know it was him until after the movie when I looked at the cast list. And Jordan Bolger does great alongside both Tiffin and Mbedu but I found myself caring least for his story line. Jimmy Odukoya was a very interesting villain that manages to hold his own multiple times. This movie has one of the most stunning choreographed battles scenes that I’ve seen in a long time. Everywhere you looked a badass woman was doing a badass thing. As much as I wish these women were perfect I think it was a great choice to show them struggle and even die at times, they are amazing and badass but the enemy is to be feared. From glorious opening scene to gorgeous closing shot this film crams a lot of movie between the two points and I’m almost certain you’ll love it as much as I did. I can’t wait until I can own this movie and watch again. Get out there and see The Woman King on the biggest screen you can, it deserves the time and the money. Now for the sake of full honesty and clarity so you can make up your own mind, a person in my row did fall asleep watching this. So expect many dialogue heavy scenes and court politics on top of all the great action. I’m giving this a big 10/10 and the second spot, right after Everything Everywhere All At Once and right before Nope, for this year. I really think there’s something here for all. -Tyler. By @tylersnerdy_review

Reviews by: @tylersnerdy_review I can’t believe Ti West’s story that started in earlier this year’s X is going to be a trilogy in around 2 years. Pearl is every bit as fantastic as X and I can not wait to see what MaXXXine has in store. Mia Goth is astounding as Pearl. Knowing that she not only played Maxine and the older Pearl in X it is a testament to her ability to be able to go back and forth from a likable final girl to a truly unhinged killer. It’s a goddamn shame knowing they won’t even think about nominating her for an Oscar, horror movies are constantly overlooked and robbed despite amazing performances. West and Goth work perfectly together and I know for a fact they will deliver yet again whenever the third film releases. David Corenswet plays a shockingly sweet man for the year 1918. His dynamic with Goth is infectious and fun and I loved seeing them together (at least for a little while). Tandi Wright holds her own opposite Goth as the “evil” mother of Pearl who delivers some truly amazing scenes throughout the film. Matthew Sunderland is great as Pearl’s father never uttering a single word, his facial expressions and grunts and moans tell you everything he is feeling in every scene. Emma Jenkins-Purro gets some real tough scenes opposite Goth and it’s hard to follow up what Goth delivers, but damn does she try. After an amazing monologue from Goth, Jenkins-Purro does a great job following. Alistair Sewell spends most of the movie as a photo but the few times we do see him I’m astonished that he’ll become the old man from X. With something missing in her mind and lots of repressed sexual tension mixed with murderous desire, Pearl is a horrifying character to follow as she slowly falls deeper into the rage trapped within her. A girl full of dreams that can never be true stuck on a farm with disapproving parents and isolated by an outbreak lead to a snap that’ll last for 61 years. I love that West was able to also make this origin of Pearl a commentary on pandemic isolation and what it can do to fractured minds like hers. And on top of that a commentary on the effect of films on young fractured minds that lead to impossible dreams, depression, and anger. 10/10. -Tyler. By @tylersnerdy_review

Reviews by: @tylersnerdy_review I had no idea that My Policeman was going to be an Amazon Prime Video original film so I was very excited to sit at home and dive right into it. I’m so sorry Harry Styles but I really think you should look into getting an acting coach. You were good in Dunkirk, good with a few lines in Eternals, so so in Don’t Worry Darling, but had me laughing at some serious scenes here. Really my only complaint about this movie is Harry but it knocks off a good amount of points. Emma Corrin and David Dawson do most of the heavy lifting here as they go through this movie delivering really good scenes. Gina McKee, Rupert Everett, and Linus Roache are fantastic as the older versions of the main characters and I kinda wanted to see more of them over the younger cast. I will say, my other complaint is that I don’t get why Marion stays with Tom after it becomes very apparent that she was aware of the affair after looking completely perplexed reading the diary in the later time. I had no idea being gay was illegal in England in the 50’s, I definitely know it is and expect it to be in America. It was quite a shock to me when the police catch a man about to start a blow job and then beat him and arrest him. I have seen a lot of gay movies with a closeted guy where they get pretty detailed with the straight sex and then either completely skip the gay sex or make it really hard to see or don’t show much of it at all. But I’ll give this film props for flipping it, the straight stuff here is boring and unsexy and the gay stuff is very nice. I’d be curious to learn if Harry used a butt double or not (wondering for a friend of course). This film doesn’t pretend to hide anything really and any twists are pretty obvious or can be figured out right before they happen. Overall it’s a pretty decent film on forbidden love and living a true life but Harry’s acting really brings it down. I’d give this a good 7/10, check it out and decide for yourself. Not a very long movie and definitely worth a watch, if only just to make fun of Harry (again I love you Harry but let’s get some help please). -Tyler. By @tylersnerdy_review